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"title": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting??",
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"content": "\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>[pullquote size='medium' align='right' citation='Sting']‘I just think it’s basic human decency to look after people more than looking after money.’[/pullquote]\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Turns Out the Anti-Capitalist Agitator We Needed is (Checks Notes)... Sting?? | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://www.sting.com/\" target=\"_blank\" rel=\"noopener\">Sting\u003c/a>, the 17-time Grammy-winning rock star who jet-sets between his five residences around the globe, probably isn’t the first person who comes to mind when one thinks of famous anti-capitalists.\u003c/p>\n\u003cp>But in an interview today at the \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">SHN Golden Gate Theatre\u003c/a> in San Francisco, he lets me in on a little-known fact.\u003c/p>\n\u003cp>“Yeah, I’m a critic of capitalism. I think when you take out the value of community from the economic equation, you end up with something, in the long-term, that is untenable,” he says. “I studied economics; it’s based on community. You can’t have it without community. Otherwise we’re being run by an algorithm that has no feeling for human dignity.”\u003c/p>\n\u003cp>So Sting the, uh… socialist?\u003c/p>\n\u003cp>“I won’t give it a name,” he says of his belief system. “I just think it’s basic human decency to look after people more than looking after money.”\u003c/p>\n\u003cfigure id=\"attachment_13853899\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853899\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg\" alt=\"Sting speaks from his working class roots in 'The Last Ship,' a play about a shipbuilding community in decline.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-2.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting speaks from his working class roots in ‘The Last Ship,’ a play about a shipbuilding community in decline. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Sting is in town to talk about his 2014 Broadway musical,\u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">\u003cem> The Last Ship\u003c/em>\u003c/a>, which will come to the Golden Gate Theatre—with Sting in the starring role—in February 2020. Set in the ’80s in his hometown of Wallsend, Tyne and Wear, England, the musical is a love story set to the backdrop of a shipbuilding community in decline.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>On the surface, its subject matter might seem niche. But \u003cem>The Last Ship\u003c/em>‘s central theme, of market forces disenfranchising the working class, has a deep resonance with today’s political moment. One could say it echoes the plight of Rust Belt steelworkers, Detroiters feeling the loss of the automotive industry and even low-income Bay Area residents pushed out by big tech.\u003c/p>\n\u003cp>“This is happening everywhere,” he says. “We were just in Toronto where a GM plant was about to close because they could move it to Mexico and pay workers $2 an hour.”\u003c/p>\n\u003cp>Sting then describes how he and the cast visited the plant workers, and performed an intimate, private show for them of songs from \u003cem>The Last Ship\u003c/em>. “The workers recognized the story we were telling,” he says. “And my actors were exposed to the reality of what they were portraying on stage. It was an electric moment, and it galvanized the whole thing. Then GM came back to the table to start renegotiating after that event, so we thought we were doing something useful.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Talking with Sting, it’s clear that \u003cem>The Last Ship\u003c/em> is his way of both reconnecting to and speaking from his working-class roots, using personal insight to illuminate broader issues of economic inequality. Sting’s father and grandfather both worked in the Wallsend shipyards—where “the biggest ships on Earth were built at the end of my street,” he says—and he was expected to follow their footsteps and take up the family trade.\u003c/p>\n\u003cp>But the young boy then known as Gordon Sumner had a different dream: to become a rock star who got paid “big piles of money.” He especially wanted nothing to do with Wallsend and its ships. Fast-forward to now, over a dozen Platinum albums and hundreds of sold-out arenas later, and the Sting who sings of shipyards and labor organizing finally sees the value of those humble beginnings he once yearned to escape.\u003c/p>\n\u003cfigure id=\"attachment_13853901\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853901\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg\" alt=\"Sting's musical 'The Last Ship' has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech.\" width=\"800\" height=\"533\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sting-shn.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Sting’s musical ‘The Last Ship’ has parallels to the plight of steel workers in the Rust Belt, as well as low-income Bay Area residents pushed out by big tech. \u003ccite>(Gabe Meline)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Let’s be real: Sting is widely seen as a self-serious, Bono-esque mega-star (critics often bring up his well-publicized interest in \u003ca href=\"https://www.theguardian.com/music/2011/sep/25/interview-the-thing-about-sting\" target=\"_blank\" rel=\"noopener\">tantric sex\u003c/a> and his passionate dabbling in \u003ca href=\"https://www.youtube.com/watch?v=bcvF6SI0A8s\" target=\"_blank\" rel=\"noopener\">the lute\u003c/a>). But in person, he’s welcoming and friendly, with a loud laugh and a gift for putting people at ease.\u003c/p>\n\u003cp>Someone in Sting’s position could easily rest on his laurels, enjoy Malibu’s beaches and Tuscany’s vineyards, and count his millions without much need to take creative risk. But Sting continues to push his own limits, undaunted by critical reception, and his fans love him for it. His last album, \u003cem>44/876,\u003c/em> a pop-reggae collaboration with Shaggy, peaked at No. 11 on the Billboard charts, even though it received lukewarm press (Pitchfork called it “\u003ca href=\"https://pitchfork.com/reviews/albums/sting-shaggy-44876/\" target=\"_blank\" rel=\"noopener\">helplessly uncool\u003c/a>“). And though \u003cem>The Last Ship \u003c/em>also received \u003ca href=\"https://www.broadwayworld.com/article/Review-Roundup-Sting-In-THE-LAST-SHIP-In-Toronto-20190221\" target=\"_blank\" rel=\"noopener\">mixed reviews\u003c/a> from theater critics during its latest run in Canada, Sting’s passion for the storyline was apparent as he performed songs on the Golden Gate stage Thursday from the perspective of a union organizer and a shipyard manager fighting for his workers.\u003c/p>\n\u003cp>So what does success mean to Sting at this stage in his career, when he’s accomplished nearly everything a rock star can?\u003c/p>\n\u003cp>“For me, it’s about surprise,” he says. “I want people to be surprised by the choices I make, and this play is very surprising. People are kind of gobsmacked.”\u003c/p>\n\u003cp>He adds, laughing, “\u003cem>I’m\u003c/em> surprised that I can act! It was never an ambition of mine to be an actor. But I can see the value of my name in the marquee to bring people in, and I believe in this play enough to take that risk.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>‘The Last Ship’ runs Feb. 20, 2020–March 22, 2020 at the SHN Golden Gate Theatre. Details \u003ca href=\"https://www.shnsf.com/Online/default.asp?BOparam::WScontent::loadArticle::permalink=the-last-ship&BOparam::WScontent::loadArticle::context_id=&menu_id=D8B581C0-D57E-44FF-A27B-4336DDA81A9D&sToken=1%2C153ea741%2C5c9d60e0%2CB872C158-08F7-4BEF-A961-EC4EC9132424%2CyvJpHZ%2FtRUxY9Kd%2FGbBCAQ%2For9Y%3D\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Sonny Smith’s New Indie Label Spotlights ‘Weird Stuff’ of San Francisco",
"headTitle": "Sonny Smith’s New Indie Label Spotlights ‘Weird Stuff’ of San Francisco | KQED",
"content": "\u003cp>\u003ca href=\"http://rockshead.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a> has been making music in some of the stranger pockets of San Francisco for close to two decades. After watching the Bay Area transform from a haven for the weird into something more sterile, expensive and exclusive, Smith decided to step up and create a platform that brings the city back to its fringe-loving roots. On April 1, he’ll debut his new record label, \u003ca href=\"https://rockshead.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Rocks in Your Head Records\u003c/a>, with the release of his band Sonny & the Sunsets’ seventh album, \u003cem>Hairdressers from Heaven\u003c/em>.\u003c/p>\n\u003cp>“Ultimately my vision is larger than a label,” says Smith. “It’s more like Motown, for that matter. I want to have a building that handles the production of the actual music, \u003cem>and\u003c/em> the production of the records, \u003cem>and\u003c/em> the distribution, \u003cem>and\u003c/em> the publicity, \u003cem>and\u003c/em> a festival all coming out from one physical center.”\u003c/p>\n\u003cfigure id=\"attachment_13853867\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg\" alt=\"Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival.\" width=\"387\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head-160x212.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival. \u003ccite>(Sarah Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is a dreamer with lofty goals. He and his music seem to only half-occupy our world, with the other half floating around in some far-out fantasy. Much of his songwriting hinges on narrative, and tells the kind of stories you’d come up with as a stoned teenager, giggling with your friends on a Saturday afternoon, utterly unfazed by reality and its preposterous “rules.”\u003c/p>\n\u003cp>Smith sings, sweet and anodyne, about \u003ca href=\"https://www.youtube.com/watch?v=P_zh6TGitro\" target=\"_blank\" rel=\"noopener\">planets ruled entirely by women\u003c/a>, discovering mysterious tubes of “\u003ca href=\"https://www.youtube.com/watch?v=mVv1EQG5IbM\" target=\"_blank\" rel=\"noopener\">Death Cream\u003c/a>” in his car and communing with the dead via seance. His sound samples elements of surf and garage rock, as well as the psychedelic folk revival of the late 1960s and early ’70s. \u003cem>Hairdressers from Heaven\u003c/em>, an album perfect for a laid-back drive down the coast, harks back to an earlier iteration of the Bay Area, when a one-bedroom apartment in San Francisco didn’t cost over $3,600 a month.\u003c/p>\n\u003cp>Since the mid-’90s, Smith has seen the local scene struggle to maintain its footing as the cost of living rises. “There was a pretty big punk scene when I got here, lots of socially conscious stuff too,” he says. “It’s like we were carrying the torch of the Dead Kennedys into the ’90s.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“Then, when the first dot-com era happened around 2000, it busted up the music scene pretty bad,” he continues. “There was an exodus to Portland. Then things settled. … There was a healthy wave of creativity, but fast forward to, like, ’12 or ’13 when the next big tech thing comes, and San Francisco took another hit.”\u003c/p>\n\u003cp>While it’s easy for an independent artist to become cynical in this climate, Smith remains inspired. The idea for Rocks in Your Head came after Smith started noticing an increase in new bands forming in San Francisco. “A lot of people were pushed out of the Mission because it got so expensive, but I’m finding a lot of great musicians out in the Sunset and the Richmond right now,” he says. “From my vantage point, there is this little underground scene growing out there.”\u003c/p>\n\u003cp>https://youtu.be/C0mZL378a7w\u003c/p>\n\u003cp>The goal of Rocks in your head is to showcase and support what San Francisco’s underground has to offer, and to hopefully fortify it against whatever new changes are coming down the line. This region-specific focus will be on full display in the label’s second release, a compilation titled \u003cem>Hot Sick Vile and Fun\u003c/em>. Working with a roster of local bands, Smith recorded and produced each song in his home studio over a period of just a few months.\u003c/p>\n\u003cp>The album has 16 tracks and is comprised of, in Smith’s words, “all the weird stuff I could find.” There’s bands featured like \u003ca href=\"https://undercity.bandcamp.com/track/the-gonks\" target=\"_blank\" rel=\"noopener\">the Gonks\u003c/a>, who have a psychedelic, art-rock sound; \u003ca href=\"https://discontinuousinnovationinc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toyota\u003c/a>, a zany post-punk outfit that Smith describes as a bit “Zappa-ish”; and \u003ca href=\"https://galoresf.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Galore\u003c/a>, who play music fit for what one could describe as a haunted beach party. The project is due out in late July.\u003c/p>\n\u003cp>Smith isn’t alone in his hope for a revitalized music ecosystem in the Bay Area. Earlier this year, he launched an \u003ca href=\"https://www.indiegogo.com/projects/rocks-in-your-head-records#/\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $15,000 to fund his label’s first year, and came up with nearly $20,000. The campaign’s success is indicative of a hole left in San Francisco in the wake of an exodus of priced-out creatives. Those of us who remain are hungry to build, to hear something new.\u003c/p>\n\u003cp>“I certainly hope I’m not the only one who wants to hear what my home has to offer,” says Smith.\u003c/p>\n\u003cp>Looking even further down the road, Smith has high hopes for Rocks In Your Head. The label’s music festival is slated for July and will showcase the artists on the compilation. Creating a new platform for independent and experimental music is a risky proposition in this economy, but Smith speaks of dreams as large as the ones in his songs.\u003c/p>\n\u003cp>He’s secured his distribution through the company Revolver, built out his studio and is using his reputation as a local indie rock mainstay to build out a stable of impressive up-and-comers. Bay Area artists have taken their fair share of hits over the past 20-odd years, and something organic like Rocks in your Head, funded in part by its local community, promises more security moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audibly excited, Smith says, “It’s almost bigger than I can comprehend at the moment.”\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"http://rockshead.com/\" target=\"_blank\" rel=\"noopener\">Sonny Smith\u003c/a> has been making music in some of the stranger pockets of San Francisco for close to two decades. After watching the Bay Area transform from a haven for the weird into something more sterile, expensive and exclusive, Smith decided to step up and create a platform that brings the city back to its fringe-loving roots. On April 1, he’ll debut his new record label, \u003ca href=\"https://rockshead.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Rocks in Your Head Records\u003c/a>, with the release of his band Sonny & the Sunsets’ seventh album, \u003cem>Hairdressers from Heaven\u003c/em>.\u003c/p>\n\u003cp>“Ultimately my vision is larger than a label,” says Smith. “It’s more like Motown, for that matter. I want to have a building that handles the production of the actual music, \u003cem>and\u003c/em> the production of the records, \u003cem>and\u003c/em> the distribution, \u003cem>and\u003c/em> the publicity, \u003cem>and\u003c/em> a festival all coming out from one physical center.”\u003c/p>\n\u003cfigure id=\"attachment_13853867\" class=\"wp-caption alignright\" style=\"max-width: 387px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-13853867\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg\" alt=\"Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival.\" width=\"387\" height=\"512\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head.jpg 387w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/sonny-smith-rocks-in-your-head-160x212.jpg 160w\" sizes=\"(max-width: 387px) 100vw, 387px\">\u003cfigcaption class=\"wp-caption-text\">Sonny Smith has big plans for Rocks in Your Head Records, including, a studio and music festival. \u003ccite>(Sarah Moore)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Smith is a dreamer with lofty goals. He and his music seem to only half-occupy our world, with the other half floating around in some far-out fantasy. Much of his songwriting hinges on narrative, and tells the kind of stories you’d come up with as a stoned teenager, giggling with your friends on a Saturday afternoon, utterly unfazed by reality and its preposterous “rules.”\u003c/p>\n\u003cp>Smith sings, sweet and anodyne, about \u003ca href=\"https://www.youtube.com/watch?v=P_zh6TGitro\" target=\"_blank\" rel=\"noopener\">planets ruled entirely by women\u003c/a>, discovering mysterious tubes of “\u003ca href=\"https://www.youtube.com/watch?v=mVv1EQG5IbM\" target=\"_blank\" rel=\"noopener\">Death Cream\u003c/a>” in his car and communing with the dead via seance. His sound samples elements of surf and garage rock, as well as the psychedelic folk revival of the late 1960s and early ’70s. \u003cem>Hairdressers from Heaven\u003c/em>, an album perfect for a laid-back drive down the coast, harks back to an earlier iteration of the Bay Area, when a one-bedroom apartment in San Francisco didn’t cost over $3,600 a month.\u003c/p>\n\u003cp>Since the mid-’90s, Smith has seen the local scene struggle to maintain its footing as the cost of living rises. “There was a pretty big punk scene when I got here, lots of socially conscious stuff too,” he says. “It’s like we were carrying the torch of the Dead Kennedys into the ’90s.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“Then, when the first dot-com era happened around 2000, it busted up the music scene pretty bad,” he continues. “There was an exodus to Portland. Then things settled. … There was a healthy wave of creativity, but fast forward to, like, ’12 or ’13 when the next big tech thing comes, and San Francisco took another hit.”\u003c/p>\n\u003cp>While it’s easy for an independent artist to become cynical in this climate, Smith remains inspired. The idea for Rocks in Your Head came after Smith started noticing an increase in new bands forming in San Francisco. “A lot of people were pushed out of the Mission because it got so expensive, but I’m finding a lot of great musicians out in the Sunset and the Richmond right now,” he says. “From my vantage point, there is this little underground scene growing out there.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/C0mZL378a7w'\n title='//www.youtube.com/embed/C0mZL378a7w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The goal of Rocks in your head is to showcase and support what San Francisco’s underground has to offer, and to hopefully fortify it against whatever new changes are coming down the line. This region-specific focus will be on full display in the label’s second release, a compilation titled \u003cem>Hot Sick Vile and Fun\u003c/em>. Working with a roster of local bands, Smith recorded and produced each song in his home studio over a period of just a few months.\u003c/p>\n\u003cp>The album has 16 tracks and is comprised of, in Smith’s words, “all the weird stuff I could find.” There’s bands featured like \u003ca href=\"https://undercity.bandcamp.com/track/the-gonks\" target=\"_blank\" rel=\"noopener\">the Gonks\u003c/a>, who have a psychedelic, art-rock sound; \u003ca href=\"https://discontinuousinnovationinc.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">Toyota\u003c/a>, a zany post-punk outfit that Smith describes as a bit “Zappa-ish”; and \u003ca href=\"https://galoresf.bandcamp.com/releases\" target=\"_blank\" rel=\"noopener\">Galore\u003c/a>, who play music fit for what one could describe as a haunted beach party. The project is due out in late July.\u003c/p>\n\u003cp>Smith isn’t alone in his hope for a revitalized music ecosystem in the Bay Area. Earlier this year, he launched an \u003ca href=\"https://www.indiegogo.com/projects/rocks-in-your-head-records#/\" target=\"_blank\" rel=\"noopener\">IndieGoGo campaign\u003c/a> to raise $15,000 to fund his label’s first year, and came up with nearly $20,000. The campaign’s success is indicative of a hole left in San Francisco in the wake of an exodus of priced-out creatives. Those of us who remain are hungry to build, to hear something new.\u003c/p>\n\u003cp>“I certainly hope I’m not the only one who wants to hear what my home has to offer,” says Smith.\u003c/p>\n\u003cp>Looking even further down the road, Smith has high hopes for Rocks In Your Head. The label’s music festival is slated for July and will showcase the artists on the compilation. Creating a new platform for independent and experimental music is a risky proposition in this economy, but Smith speaks of dreams as large as the ones in his songs.\u003c/p>\n\u003cp>He’s secured his distribution through the company Revolver, built out his studio and is using his reputation as a local indie rock mainstay to build out a stable of impressive up-and-comers. Bay Area artists have taken their fair share of hits over the past 20-odd years, and something organic like Rocks in your Head, funded in part by its local community, promises more security moving forward.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Audibly excited, Smith says, “It’s almost bigger than I can comprehend at the moment.”\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bandcamp, the popular music streaming and merchandise platform, in February \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened an office\u003c/a> in downtown Oakland. Considered an artist-friendly alternative, or at least supplement, to streaming services such as Spotify, it’s the city’s highest-profile music industry arrival in recent memory. Attached to the office is a record shop lodged within a small concert venue. \u003c/p>\n\u003cp>The third installment of “Bandcamp Presents,” a free monthly show series, features Oakland five-piece Club Night. The group has a restless, springy energy reminiscent of the chiming effervescence of 2000s indie-rock: zigzagging melodies, stardust keys and, from front-person Joshua Bertram, an ecstatic yawp. Club Night emerged with a cassette in 2017, and their Bandcamp show Friday, Apr. 5 marks the release of debut album \u003cem>What Life\u003c/em> on Tiny Engines. \u003c/p>\n\u003cp>Locally, Club Night have a unique profile: Their sound is not one that’s particularly associated with Oakland, but they have close ties to the DIY scene. Without much label machinery, they’ve also earned note in many of the \u003ca href=\"https://pitchfork.com/reviews/tracks/club-night-rally/\">national\u003c/a> \u003ca href=\"https://www.thefader.com/2019/03/26/hear-riotous-unclassifiable-oakland-band-club-nights-new-song-path\">music\u003c/a> \u003ca href=\"https://www.stereogum.com/2019687/club-night-mute-trance-what-life/franchises/interview/\">publications\u003c/a> that habitually overlook the Bay Area. Perhaps most surprisingly, Club Night’s buzz has not whisked them to Los Angeles. But in a new alignment, the group’s apparently preferred streaming platform is now based in Oakland. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2125746308/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bandcamp, the popular music streaming and merchandise platform, in February \u003ca href=\"https://www.kqed.org/arts/13848866/inside-bandcamp-oakland-online-music-retailers-new-venue-record-shop-and-office\">opened an office\u003c/a> in downtown Oakland. Considered an artist-friendly alternative, or at least supplement, to streaming services such as Spotify, it’s the city’s highest-profile music industry arrival in recent memory. Attached to the office is a record shop lodged within a small concert venue. \u003c/p>\n\u003cp>The third installment of “Bandcamp Presents,” a free monthly show series, features Oakland five-piece Club Night. The group has a restless, springy energy reminiscent of the chiming effervescence of 2000s indie-rock: zigzagging melodies, stardust keys and, from front-person Joshua Bertram, an ecstatic yawp. Club Night emerged with a cassette in 2017, and their Bandcamp show Friday, Apr. 5 marks the release of debut album \u003cem>What Life\u003c/em> on Tiny Engines. \u003c/p>\n\u003cp>Locally, Club Night have a unique profile: Their sound is not one that’s particularly associated with Oakland, but they have close ties to the DIY scene. Without much label machinery, they’ve also earned note in many of the \u003ca href=\"https://pitchfork.com/reviews/tracks/club-night-rally/\">national\u003c/a> \u003ca href=\"https://www.thefader.com/2019/03/26/hear-riotous-unclassifiable-oakland-band-club-nights-new-song-path\">music\u003c/a> \u003ca href=\"https://www.stereogum.com/2019687/club-night-mute-trance-what-life/franchises/interview/\">publications\u003c/a> that habitually overlook the Bay Area. Perhaps most surprisingly, Club Night’s buzz has not whisked them to Los Angeles. But in a new alignment, the group’s apparently preferred streaming platform is now based in Oakland. \u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=2125746308/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Spanish singer Rosalía has features on chart-topping albums like J Balvin’s \u003cem>Vibras\u003c/em> and James Blake’s \u003cem>Assume Form\u003c/em>, but she unleashes her full power on \u003cem>El Mal Querer\u003c/em>, a scorching electro-flamenco project (yes, that’s a thing) that combines Spanish guitar and lilting vocals with strains of indie pop and R&B.\u003c/p>\n\u003cp>The artist comes to the West Coast on her \u003cem>El Mal Querer\u003c/em> tour, headlining San Francisco’s Regency Ballroom on \u003ca href=\"https://www.theregencyballroom.com/events/detail/371582\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>El Mal Querer\u003c/em>, Rosalía flexes her mighty voice with tracks like “Que No Salga La Luna” and “De Aqui No Sales,” the album’s high-drama flamenco offerings with hand-claps galore. “Reniego” haunts with its brooding strings; “Bagdad” captivates with its sparse electronics, which give Rosalía room to suspense with a climactic vocal melody. On tracks like “Malamente,” she tones down her voice into the coy cooing she typically employs in more straightforward pop collaborations.\u003c/p>\n\u003cp>Rosalía’s music is a natural evolution of flamenco in the 21st-century, and proof that traditional folk art can offer a deep well of inspiration.\u003c/p>\n\u003cp>\u003cem>Details for her show can be found \u003ca href=\"https://www.theregencyballroom.com/events/detail/371582\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\u003cp>https://youtu.be/cENIOFk160c\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Spanish singer Rosalía has features on chart-topping albums like J Balvin’s \u003cem>Vibras\u003c/em> and James Blake’s \u003cem>Assume Form\u003c/em>, but she unleashes her full power on \u003cem>El Mal Querer\u003c/em>, a scorching electro-flamenco project (yes, that’s a thing) that combines Spanish guitar and lilting vocals with strains of indie pop and R&B.\u003c/p>\n\u003cp>The artist comes to the West Coast on her \u003cem>El Mal Querer\u003c/em> tour, headlining San Francisco’s Regency Ballroom on \u003ca href=\"https://www.theregencyballroom.com/events/detail/371582\" target=\"_blank\" rel=\"noopener\">April 22\u003c/a>.\u003c/p>\n\u003cp>On \u003cem>El Mal Querer\u003c/em>, Rosalía flexes her mighty voice with tracks like “Que No Salga La Luna” and “De Aqui No Sales,” the album’s high-drama flamenco offerings with hand-claps galore. “Reniego” haunts with its brooding strings; “Bagdad” captivates with its sparse electronics, which give Rosalía room to suspense with a climactic vocal melody. On tracks like “Malamente,” she tones down her voice into the coy cooing she typically employs in more straightforward pop collaborations.\u003c/p>\n\u003cp>Rosalía’s music is a natural evolution of flamenco in the 21st-century, and proof that traditional folk art can offer a deep well of inspiration.\u003c/p>\n\u003cp>\u003cem>Details for her show can be found \u003ca href=\"https://www.theregencyballroom.com/events/detail/371582\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/cENIOFk160c'\n title='//www.youtube.com/embed/cENIOFk160c'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"title": "Childish Gambino, Twenty One Pilots, Kacey Musgraves to Play Outside Lands 2019",
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"content": "\u003cp>Following last week’s announcement that \u003ca href=\"https://www.kqed.org/arts/13853523/outside-lands-2019-lineup\" target=\"_blank\" rel=\"noopener\">Paul Simon\u003c/a> is headlining \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2019\u003c/a>, the music and arts festival just released the full lineup of acts coming to Golden Gate Park August 9–11. \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, who won the Grammy for Record of the Year with “This is America,” joins Simon as a headliner, as well as pop duo Twenty One Pilots.\u003c/p>\n\u003cp>Australian electronic producer Flume also tops the bill, as well as pop punk all-stars Blink 182, pop star Bebe Rexha and country singer Kacey Musgraves, whose \u003cem>Golden Hour\u003c/em> won the 2019 Grammy for Album of the Year. Southern rap legend Lil Wayne will also perform, along with R&B newcomer Ella Mai, best known for “Boo’d Up.”\u003c/p>\n\u003cp>Rock’n’roll Hall of Famer Mavis Staples, of the Staples Singers, is also slated to play, as well as up-and-coming rappers Tierra Whack and Cupcakke and electronic producer Yaeji. On the local front, Oakland neo-soul band \u003ca href=\"https://www.kqed.org/arts/10974703/listen-in-the-seshen-shapes\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> are on the bill, as is prolific Pinole producer and rapper \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>. See the full lineup below.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Paul Simon\u003cbr>\nChildish Gambino\u003cbr>\nTwenty One Pilots\u003cbr>\nThe Lumineers\u003cbr>\nFlume\u003cbr>\nBlink-182\u003cbr>\nKygo\u003cbr>\nAnderson .Paak & The Free Nationals\u003cbr>\nLeon Bridges\u003cbr>\nKacey Musgraves\u003cbr>\nLil Wayne\u003cbr>\nHozier\u003cbr>\nRL Grime\u003cbr>\nElla Mai\u003cbr>\nCounting Crows\u003cbr>\nFlying Lotus 3D\u003cbr>\nAlina Baraz\u003cbr>\nMavis Staples\u003cbr>\nBebe Rexha\u003cbr>\nSheck Wes\u003cbr>\nThe Neighbourhood\u003cbr>\nSantigold\u003cbr>\nBetter Oblivion Community Center\u003cbr>\nToro y Moi\u003cbr>\nDenzel Curry\u003cbr>\nLauren Daigle\u003cbr>\nSan Holo\u003cbr>\nJudah & the Lion\u003cbr>\nBig Wild\u003cbr>\nBob Moses\u003cbr>\nEdie Brickell & New Bohemians\u003cbr>\nWallows\u003cbr>\nYaeji\u003cbr>\nMasego\u003cbr>\nPhosphorescent\u003cbr>\nTierra Whack\u003cbr>\nDJ Koze\u003cbr>\nNoMBe\u003cbr>\nNahko And Medicine For The People\u003cbr>\nAurora\u003cbr>\nJustin Martin\u003cbr>\nDean Lewis\u003cbr>\nBea Miller\u003cbr>\nShallou\u003cbr>\nLuttrell\u003cbr>\nThe California Honeydrops\u003cbr>\nCautious Clay\u003cbr>\nhalf•alive\u003cbr>\nThe Marías\u003cbr>\nBrasstracks\u003cbr>\nCupCakKe\u003cbr>\nCherry Glazerr\u003cbr>\nP-Lo\u003cbr>\nCaamp\u003cbr>\nWeyes Blood\u003cbr>\nPJ Morton\u003cbr>\nThe Funk Hunters\u003cbr>\nStill Woozy\u003cbr>\nTaylor Bennett\u003cbr>\nMorMor\u003cbr>\nMiya Folick\u003cbr>\nALLBLACK\u003cbr>\nSYML\u003cbr>\nLeven Kali\u003cbr>\nAlex Lahey\u003cbr>\nJupiter & Okwess\u003cbr>\nDelacey\u003cbr>\nAltin Gün\u003cbr>\nGrateful Shred\u003cbr>\nAmo Amo\u003cbr>\nBoyfriend\u003cbr>\nThe Seshen\u003cbr>\nRainbow Girls\u003cbr>\nSandy’s\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Following last week’s announcement that \u003ca href=\"https://www.kqed.org/arts/13853523/outside-lands-2019-lineup\" target=\"_blank\" rel=\"noopener\">Paul Simon\u003c/a> is headlining \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands 2019\u003c/a>, the music and arts festival just released the full lineup of acts coming to Golden Gate Park August 9–11. \u003ca href=\"https://www.kqed.org/arts/13831328/on-childish-gambinos-this-is-america-and-our-national-ugliness\" target=\"_blank\" rel=\"noopener\">Childish Gambino\u003c/a>, who won the Grammy for Record of the Year with “This is America,” joins Simon as a headliner, as well as pop duo Twenty One Pilots.\u003c/p>\n\u003cp>Australian electronic producer Flume also tops the bill, as well as pop punk all-stars Blink 182, pop star Bebe Rexha and country singer Kacey Musgraves, whose \u003cem>Golden Hour\u003c/em> won the 2019 Grammy for Album of the Year. Southern rap legend Lil Wayne will also perform, along with R&B newcomer Ella Mai, best known for “Boo’d Up.”\u003c/p>\n\u003cp>Rock’n’roll Hall of Famer Mavis Staples, of the Staples Singers, is also slated to play, as well as up-and-coming rappers Tierra Whack and Cupcakke and electronic producer Yaeji. On the local front, Oakland neo-soul band \u003ca href=\"https://www.kqed.org/arts/10974703/listen-in-the-seshen-shapes\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a> and rapper \u003ca href=\"https://www.kqed.org/arts/13830210/with-brutal-honesty-oaklands-allblack-reaches-toward-peace\" target=\"_blank\" rel=\"noopener\">ALLBLACK\u003c/a> are on the bill, as is prolific Pinole producer and rapper \u003ca href=\"https://www.kqed.org/arts/13811392/behind-the-beats-p-lo\" target=\"_blank\" rel=\"noopener\">P-Lo\u003c/a>. See the full lineup below.\u003c/p>\n\u003cp>\u003cstrong>Lineup: \u003c/strong>\u003c/p>\n\u003cp>Paul Simon\u003cbr>\nChildish Gambino\u003cbr>\nTwenty One Pilots\u003cbr>\nThe Lumineers\u003cbr>\nFlume\u003cbr>\nBlink-182\u003cbr>\nKygo\u003cbr>\nAnderson .Paak & The Free Nationals\u003cbr>\nLeon Bridges\u003cbr>\nKacey Musgraves\u003cbr>\nLil Wayne\u003cbr>\nHozier\u003cbr>\nRL Grime\u003cbr>\nElla Mai\u003cbr>\nCounting Crows\u003cbr>\nFlying Lotus 3D\u003cbr>\nAlina Baraz\u003cbr>\nMavis Staples\u003cbr>\nBebe Rexha\u003cbr>\nSheck Wes\u003cbr>\nThe Neighbourhood\u003cbr>\nSantigold\u003cbr>\nBetter Oblivion Community Center\u003cbr>\nToro y Moi\u003cbr>\nDenzel Curry\u003cbr>\nLauren Daigle\u003cbr>\nSan Holo\u003cbr>\nJudah & the Lion\u003cbr>\nBig Wild\u003cbr>\nBob Moses\u003cbr>\nEdie Brickell & New Bohemians\u003cbr>\nWallows\u003cbr>\nYaeji\u003cbr>\nMasego\u003cbr>\nPhosphorescent\u003cbr>\nTierra Whack\u003cbr>\nDJ Koze\u003cbr>\nNoMBe\u003cbr>\nNahko And Medicine For The People\u003cbr>\nAurora\u003cbr>\nJustin Martin\u003cbr>\nDean Lewis\u003cbr>\nBea Miller\u003cbr>\nShallou\u003cbr>\nLuttrell\u003cbr>\nThe California Honeydrops\u003cbr>\nCautious Clay\u003cbr>\nhalf•alive\u003cbr>\nThe Marías\u003cbr>\nBrasstracks\u003cbr>\nCupCakKe\u003cbr>\nCherry Glazerr\u003cbr>\nP-Lo\u003cbr>\nCaamp\u003cbr>\nWeyes Blood\u003cbr>\nPJ Morton\u003cbr>\nThe Funk Hunters\u003cbr>\nStill Woozy\u003cbr>\nTaylor Bennett\u003cbr>\nMorMor\u003cbr>\nMiya Folick\u003cbr>\nALLBLACK\u003cbr>\nSYML\u003cbr>\nLeven Kali\u003cbr>\nAlex Lahey\u003cbr>\nJupiter & Okwess\u003cbr>\nDelacey\u003cbr>\nAltin Gün\u003cbr>\nGrateful Shred\u003cbr>\nAmo Amo\u003cbr>\nBoyfriend\u003cbr>\nThe Seshen\u003cbr>\nRainbow Girls\u003cbr>\nSandy’s\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"slug": "genre-defying-rapper-mahawam-grapples-with-an-hiv-diagnosis-on-their-new-ep",
"title": "Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP",
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"content": "\u003cp>\u003ca href=\"https://mahawam.bandcamp.com/album/is-an-island\" target=\"_blank\" rel=\"noopener\">Mahawam\u003c/a>‘s \u003cem>Is an Island\u003c/em> EP (out March 29 on Molly House Records) emerged from a period when the artist wanted to disappear.\u003c/p>\n\u003cp>“I had just received my [HIV] positive diagnosis, and I wasn’t really sure how to talk about it with my friends,” the rapper and multi-instrumentalist, whose real name is Malik Mays, recalls stoically over coffee on a sunny morning in Oakland. “I started to withdraw into myself. I stopped going to parties. I stopped DJing for a bit. People didn’t see me, and nobody really asked.”\u003c/p>\n\u003cp>The stream-of-consciousness lead single from \u003cem>Is an Island\u003c/em>, “Michelle Pfeiffer,” is a sketch of Mahawam’s mental state during that time. Its lyrics bounce between dejected and self-destructive, with a frantic delivery that evokes the disorienting, sped-up drug sequences in \u003cem>Requiem for a Dream\u003c/em>. “Gold’s been leaking from my lesions lately / It’s crazy but, imminent death, imminent death, imminent death,” Mahawam fires off in the hook, excavating the highs and lows of a substance-fueled downward spiral.\u003c/p>\n\u003cp>https://youtu.be/Ahd4yQ6ruLQ\u003c/p>\n\u003cp>The “Michelle Pfeiffer” music video, which opens with a questionnaire one might fill out in a psychiatrist’s office, shows Mahawam anxiously waiting in an empty room, contemplating their fate while drinking dark liquor and fidgeting with anxiety. (Mahawam uses they/them pronouns.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“[\u003cem>Is an Island\u003c/em>] was something I had to do in order to escape the process of grieving for myself,” Mahawam says, recalling their rage and sadness.\u003c/p>\n\u003cp>“I definitely feel like I’m on even ground again,” they continue. “The record is like a picture of the flash in the fire. It was a short period of time, I don’t feel like that anymore. But it was important to feel like that, and know I could get to a place that’s so low and bounce back.”\u003c/p>\n\u003cp>Music has always been a constant in Mahawam’s life, one that helped them find their way back to normalcy following the diagnosis. They were an orchestra kid in high school in Arizona, and grew up playing violin, cello and orchestral percussion. They studied creative writing with a concentration in poetry at Arizona State University before dropping out and completing a music engineering program.\u003c/p>\n\u003cp>After moving to the Bay Area in 2013, Mahawam got involved in the local drag scene as a DJ and began making beats behind closed doors. Rapping came when they needed vocals to go with their production, much of which has a club music tempo and a discordant, punk-rap experimentalism, evoking artists as disparate as Death Grips and Robyn. A friend of Mahawam’s, Kristina Esfandiari of the doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>, heard their music and became an early champion of their work.\u003c/p>\n\u003cfigure id=\"attachment_13853670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/mahawam-4-800x1000.jpg\" alt=\"Mahawam. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-768x960.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally yelling at them like, ‘You’re supposed to do music! You need to do it!'” says Esfandiari, who booked Mahawam’s first headlining show under the guise of them opening for King Woman. Esfandiari performed one song and gave Mahawam the floor. “I cried the first time I saw Malik perform. I think they’re an absolute genius.”\u003c/p>\n\u003cp>Mahawam quickly found support in Oakland’s diverse and interdisciplinary music scene, where artists of different genres and identities mingle at bars, underground spaces and homegrown festivals, leading to unexpected collaborations. One night at Starline Social Club, Esfandiari introduced Mahawam to Michelle Campbell, who manages rising Oakland synth-pop duo \u003ca href=\"https://vverevvolf.bandcamp.com\" target=\"_blank\" rel=\"noopener\">vverewolf\u003c/a> (one of the supporting acts at Mahawam’s EP \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> at Amnesia in San Francisco on March 26). Campbell, who now manages Mahawam, connected them with bassist Akiyoshi Ehara from prolific, local neo-soul band \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a>, and Ehara co-produced and mixed \u003cem>Is an Island\u003c/em>.\u003c/p>\n\u003cp>“There’s so much out there in the music world these days where it feels like people are trying to emulate pop stars rather than create their own sound,” Ehara says. “And what I like about Malik’s music is that it feels like their own path that they’re forging. That takes a certain level of bravery.”\u003c/p>\n\u003cp>The tracks on \u003cem>Is an Island\u003c/em>, with their soaring pop hooks, frenetic, uptempo beats and (sometimes uncomfortably) introspective lyrics, don’t fit neatly into a genre, and share a kindred spirit with boundary-pushing rappers like Maryland’s nu–metal-dabbling firecracker \u003ca href=\"https://www.kqed.org/arts/13846952/how-2018s-most-exciting-female-rappers-broke-the-vixen-mold\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1012948026/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mahawam’s genre-defying approach is part of their appeal, as evinced by the fact that a doom-metal singer, a bubblegum pop band and a neo-soul bassist are in their corner. “I think it’s a sign of the genre-less future we’re approaching, where everything is everything, and the lines between cultures even have started to blur—which gets messy at times, but I think, for the most part, it’s really cool,” Mahawam says.\u003c/p>\n\u003cp>Mahawam’s arrival also comes at a time when the rap world is beginning to open up to more than just male, heterosexual narratives. The mainstream success of Cardi B, Megan Thee Stallion and City Girls—and the rise of Cupcakke, Tierra Whack and BbyMutha on the indie front—proves rap fans crave other perspectives. But challenges persist, especially for someone like Mahawam, who is gender nonbinary. Queer, gender-nonconforming artists still face harassment and homophobia. Meanwhile, others have found an audience in the LGBTQ+ club scene rather than the mainstream rap world.\u003c/p>\n\u003cp>“I think that dilutes the effectiveness of rap as a genre, rap as a platform, hip-hop as a lifestyle,” Mahawam says of segregating acts by gender or sexuality. “That division doesn’t need to be there.”\u003c/p>\n\u003cp>Still, despite the challenges, Mahawam has found strength—and a captive audience—by simply speaking their truth and being themself. “Really at the end of the day, I don’t worry about where I sit on the gender spectrum because of my music,” says the artist. “It’s not the focus. I frequently switch genders in my music, and my pronouns even change. … I think me having that fluidity in my music and presenting the way that I look will inspire some other child who has decided to sit firmly in the middle and write what they want to write.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Mahawam performs at Amnesia on March 26. Details \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"title": "Genre-Defying Rapper Mahawam Grapples With an HIV Diagnosis on Their New EP | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ca href=\"https://mahawam.bandcamp.com/album/is-an-island\" target=\"_blank\" rel=\"noopener\">Mahawam\u003c/a>‘s \u003cem>Is an Island\u003c/em> EP (out March 29 on Molly House Records) emerged from a period when the artist wanted to disappear.\u003c/p>\n\u003cp>“I had just received my [HIV] positive diagnosis, and I wasn’t really sure how to talk about it with my friends,” the rapper and multi-instrumentalist, whose real name is Malik Mays, recalls stoically over coffee on a sunny morning in Oakland. “I started to withdraw into myself. I stopped going to parties. I stopped DJing for a bit. People didn’t see me, and nobody really asked.”\u003c/p>\n\u003cp>The stream-of-consciousness lead single from \u003cem>Is an Island\u003c/em>, “Michelle Pfeiffer,” is a sketch of Mahawam’s mental state during that time. Its lyrics bounce between dejected and self-destructive, with a frantic delivery that evokes the disorienting, sped-up drug sequences in \u003cem>Requiem for a Dream\u003c/em>. “Gold’s been leaking from my lesions lately / It’s crazy but, imminent death, imminent death, imminent death,” Mahawam fires off in the hook, excavating the highs and lows of a substance-fueled downward spiral.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Ahd4yQ6ruLQ'\n title='//www.youtube.com/embed/Ahd4yQ6ruLQ'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>The “Michelle Pfeiffer” music video, which opens with a questionnaire one might fill out in a psychiatrist’s office, shows Mahawam anxiously waiting in an empty room, contemplating their fate while drinking dark liquor and fidgeting with anxiety. (Mahawam uses they/them pronouns.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“[\u003cem>Is an Island\u003c/em>] was something I had to do in order to escape the process of grieving for myself,” Mahawam says, recalling their rage and sadness.\u003c/p>\n\u003cp>“I definitely feel like I’m on even ground again,” they continue. “The record is like a picture of the flash in the fire. It was a short period of time, I don’t feel like that anymore. But it was important to feel like that, and know I could get to a place that’s so low and bounce back.”\u003c/p>\n\u003cp>Music has always been a constant in Mahawam’s life, one that helped them find their way back to normalcy following the diagnosis. They were an orchestra kid in high school in Arizona, and grew up playing violin, cello and orchestral percussion. They studied creative writing with a concentration in poetry at Arizona State University before dropping out and completing a music engineering program.\u003c/p>\n\u003cp>After moving to the Bay Area in 2013, Mahawam got involved in the local drag scene as a DJ and began making beats behind closed doors. Rapping came when they needed vocals to go with their production, much of which has a club music tempo and a discordant, punk-rap experimentalism, evoking artists as disparate as Death Grips and Robyn. A friend of Mahawam’s, Kristina Esfandiari of the doom metal band \u003ca href=\"https://kingwoman.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">King Woman\u003c/a>, heard their music and became an early champion of their work.\u003c/p>\n\u003cfigure id=\"attachment_13853670\" class=\"wp-caption alignright\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13853670\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/mahawam-4-800x1000.jpg\" alt=\"Mahawam. \" width=\"800\" height=\"1000\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-160x200.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/mahawam-4-768x960.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Mahawam. \u003ccite>(Guerrilla Davis)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>“I was literally yelling at them like, ‘You’re supposed to do music! You need to do it!'” says Esfandiari, who booked Mahawam’s first headlining show under the guise of them opening for King Woman. Esfandiari performed one song and gave Mahawam the floor. “I cried the first time I saw Malik perform. I think they’re an absolute genius.”\u003c/p>\n\u003cp>Mahawam quickly found support in Oakland’s diverse and interdisciplinary music scene, where artists of different genres and identities mingle at bars, underground spaces and homegrown festivals, leading to unexpected collaborations. One night at Starline Social Club, Esfandiari introduced Mahawam to Michelle Campbell, who manages rising Oakland synth-pop duo \u003ca href=\"https://vverevvolf.bandcamp.com\" target=\"_blank\" rel=\"noopener\">vverewolf\u003c/a> (one of the supporting acts at Mahawam’s EP \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">release show\u003c/a> at Amnesia in San Francisco on March 26). Campbell, who now manages Mahawam, connected them with bassist Akiyoshi Ehara from prolific, local neo-soul band \u003ca href=\"https://theseshen.bandcamp.com/\" target=\"_blank\" rel=\"noopener\">the Seshen\u003c/a>, and Ehara co-produced and mixed \u003cem>Is an Island\u003c/em>.\u003c/p>\n\u003cp>“There’s so much out there in the music world these days where it feels like people are trying to emulate pop stars rather than create their own sound,” Ehara says. “And what I like about Malik’s music is that it feels like their own path that they’re forging. That takes a certain level of bravery.”\u003c/p>\n\u003cp>The tracks on \u003cem>Is an Island\u003c/em>, with their soaring pop hooks, frenetic, uptempo beats and (sometimes uncomfortably) introspective lyrics, don’t fit neatly into a genre, and share a kindred spirit with boundary-pushing rappers like Maryland’s nu–metal-dabbling firecracker \u003ca href=\"https://www.kqed.org/arts/13846952/how-2018s-most-exciting-female-rappers-broke-the-vixen-mold\" target=\"_blank\" rel=\"noopener\">Rico Nasty\u003c/a>.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=1012948026/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Mahawam’s genre-defying approach is part of their appeal, as evinced by the fact that a doom-metal singer, a bubblegum pop band and a neo-soul bassist are in their corner. “I think it’s a sign of the genre-less future we’re approaching, where everything is everything, and the lines between cultures even have started to blur—which gets messy at times, but I think, for the most part, it’s really cool,” Mahawam says.\u003c/p>\n\u003cp>Mahawam’s arrival also comes at a time when the rap world is beginning to open up to more than just male, heterosexual narratives. The mainstream success of Cardi B, Megan Thee Stallion and City Girls—and the rise of Cupcakke, Tierra Whack and BbyMutha on the indie front—proves rap fans crave other perspectives. But challenges persist, especially for someone like Mahawam, who is gender nonbinary. Queer, gender-nonconforming artists still face harassment and homophobia. Meanwhile, others have found an audience in the LGBTQ+ club scene rather than the mainstream rap world.\u003c/p>\n\u003cp>“I think that dilutes the effectiveness of rap as a genre, rap as a platform, hip-hop as a lifestyle,” Mahawam says of segregating acts by gender or sexuality. “That division doesn’t need to be there.”\u003c/p>\n\u003cp>Still, despite the challenges, Mahawam has found strength—and a captive audience—by simply speaking their truth and being themself. “Really at the end of the day, I don’t worry about where I sit on the gender spectrum because of my music,” says the artist. “It’s not the focus. I frequently switch genders in my music, and my pronouns even change. … I think me having that fluidity in my music and presenting the way that I look will inspire some other child who has decided to sit firmly in the middle and write what they want to write.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-medium wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-800x78.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"auto, (max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Mahawam performs at Amnesia on March 26. Details \u003ca href=\"https://amnesiathebar.com/calendar/late-show-mahawan-fringe-class-vverewolf-dj/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "How a Club Owner Raised Ticket Fees, Pocketed Bonuses, and Lost Big in Court",
"headTitle": "How a Club Owner Raised Ticket Fees, Pocketed Bonuses, and Lost Big in Court | KQED",
"content": "\u003cp>A Bay Area nightclub owner who increased service fees on tickets in order to pay for a large bonus for himself has been defeated in a pair of costly breach-of-contract lawsuits.\u003c/p>\n\u003cp>For music fans, including thousands who purchased online tickets to the nightclubs involved, the lawsuits illustrate little-known details of the online ticketing industry—including signing bonuses and advances for small club owners, and how they can increase the dreaded “convenience” fee paid by ordinary ticket buyers.\u003c/p>\n\u003cp>The lawsuits go back to 2014, when the \u003ca href=\"https://www.thenewparish.com/\" rel=\"noopener\" target=\"_blank\">New Parish\u003c/a> in Oakland and the \u003ca href=\"https://brickandmortarmusic.com/\" rel=\"noopener\" target=\"_blank\">Brick & Mortar Music Hall\u003c/a> in San Francisco’s Mission District began using a different company to sell advance online tickets for shows. Fans had previously bought tickets through San Francisco-based online ticket provider Ticketfly, but the clubs’ co-owner Jason Perkins dropped the company after a competing ticket provider, Crowdtorch, offered a signing bonus and advance totaling $500,000.\u003c/p>\n\u003cp>With the change in providers and the large signing bonus for himself, Perkins effectively increased the service fees paid by ticket buyers by as much as 50 percent.\u003c/p>\n\u003cp>But that decision is about to cost greatly for Perkins, a controversial figure in the local music community. Perkins for years has made headlines across Bay Area media for sparring with \u003ca href=\"https://www.sfgate.com/bayarea/article/Brick-amp-Mortar-Music-Hall-sounds-off-4744795.php\" rel=\"noopener\" target=\"_blank\">city officials\u003c/a>, \u003ca href=\"https://sanfrancisco.cbslocal.com/2015/08/25/oakland-music-venue-claims-illegal-shut-down-after-alleged-police-raid/\" rel=\"noopener\" target=\"_blank\">police and fire departments\u003c/a> and, in one case, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">a popular local band\u003c/a>. (Last year, in a widely publicized incident, he was shown on \u003ca href=\"http://www.sfexaminer.com/nightclub-owner-accused-threats-attack-homeless-man-surveillance-video-surfaces/\" rel=\"noopener\" target=\"_blank\">leaked security footage\u003c/a> in a physical altercation with a homeless man.)\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Both Ticketfly and Crowdtorch sued Perkins and his business partner Michael O’Connor for breach of contract. In its filing, Crowdtorch alleged a pattern by Perkins of “taking hundreds of thousands of dollars in signing bonuses from an online ticketing provider and then abandoning the provider without paying back any of the bonuses.”\u003c/p>\n\u003cp>Crowdtorch won judgment in 2017 for $323,000. And last month, after the court admonished Perkins for withholding evidence, a ruling favoring Ticketfly opened the door to another six-figure judgment. Should a judge award full damages claimed, Perkins and O’Connor will be on the hook for over $738,000. \u003c/p>\n\u003cfigure id=\"attachment_13853667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/NewParish-800x598.jpg\" alt=\"The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has reportedly since sold his stake in the popular club.\" width=\"800\" height=\"598\" class=\"size-medium wp-image-13853667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has since sold his stake in the popular club. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Along Large Bonuses to Fans\u003c/h2>\n\u003cp>The lawsuits stem from a 2014 agreement between Perkins and Ticketfly, now owned by Eventbrite, to provide ticketing services for Parish Entertainment Group venues, including the Brick & Mortar and New Parish through 2019. The five-year contract included a perk more commonly associated with professional sports: a $110,000 signing bonus.\u003c/p>\n\u003cp>Ticketing companies are widely reviled for their high “convenience” fees tacked on to the face value of a ticket. But the contract also outlined one of the industry’s secrets: the practice of venue owners receiving a cut of each ticket’s service fees. In the agreement, Ticketfly established a split: for a $10 ticket, for example, the service charge would be $2, of which the venue owners would receive $.25.\u003c/p>\n\u003cp>Perkins signed the five-year Ticketfly agreement on April 7, 2014. But nine days later, on April 16, according to court filings, Perkins told a Crowdtorch representative that he was “entertaining offers,” and began bargaining with the company weeks after contracting with Ticketfly. \u003c/p>\n\u003cp>“Throughout the sales process, Mr. Perkins made reference to other vendors he was considering for ticketing services, and even rejected our first offer as not competitive ‘with the vendors we have whittled down to consider,’” the Crowdtorch employee wrote in a sworn declaration. \u003c/p>\n\u003cp>In September 2014, Perkins signed a four-year agreement with Crowdtorch, court filings show, with highly favorable terms: a $150,000 signing bonus, plus a $350,000 advance on ticket sales.\u003c/p>\n\u003cp>To help pay for Perkins’ large bonus and advance, the contract included an increased service charge on tickets, passed along to fans at checkout. The $2 surcharge on a $10 ticket rose by 50 percent, to $3, costing fans a total of $13 before an additional 3 percent credit card fee. The club’s cut of the surcharge, meanwhile, rose by 500 percent to $1.50. (Service fees varied by face value, but their increase did not: a $50 ticket, for example, came with a Ticketfly service fee of $6, which with Crowdfire rose 50 percent to $9.)\u003c/p>\n\u003cp>Throughout this time, Perkins remained under contract to Ticketfly, who had paid him its own signing bonus. In December 2014, as emails surfaced in litigation show, Crowdtorch agreed to wire $250,000 earlier than previously arranged if Perkins confirmed that his Ticketfly contract was “null and void.” “I agree with all points below,” Perkins responded. “I appreciate the timely release of funds[.]” \u003c/p>\n\u003cp>Ticketfly sued Perkins and O’Connor three months later. \u003c/p>\n\u003ch2>‘False and Evasive’ Responses\u003c/h2>\n\u003cp>Last month, the San Francisco judge granted Ticketfly legal fees and “terminating sanctions,” effectively ending the case in the company’s favor. The dollar amount of damages to be paid by Perkins and O’Connor will be determined at a future date, but Ticketfly claims it’s owed more than $400,000. Combined with the Crowdtorch judgment, that would bring the total in damages to be paid by Perkins and O’Connor to more than $723,000.\u003c/p>\n\u003cp>Reached by email, Perkins did not provide comment on the ruling. The attorney representing Perkins and O’Connor did not respond to multiple requests for comment. \u003c/p>\n\u003cp>During the four-year lawsuit, Ticketfly’s attorney Nitoj Singh accused Perkins of strategically “keep[ing] this case barely alive” by “avoiding default time and time again…in an apparent effort to delay a resolution,” a charge with which the judge agreed.\u003c/p>\n\u003cp>“Defendants’ repeated failures to provide timely discovery responses and to comply with the Court’s orders constitute willful, repeated, and egregious misuse of the discovery process,” wrote San Francisco Superior Court Judge Ethan Schulman in the order filed Feb. 28, 2019. Schulman also criticized Perkins and O’Connor for “false and evasive discovery responses [and] their admitted spoliation or loss of relevant documents.” \u003c/p>\n\u003cp>“We’re pleased that this has finally come to resolution with the court dismissing the case in our favor, awarding Ticketfly terminating and monetary sanctions,” the company said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13853687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Ticketfly-800x558.jpg\" alt=\"Ticketfly was granted "terminating sanctions" in a judge's decision in February. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13853687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-768x536.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ticketfly was granted “terminating sanctions” in a judge’s decision in February. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Pattern and Practice’\u003c/h2>\n\u003cp>Evidently, Ticketfly’s lawsuit did not deter Perkins from signing with yet another ticketing company while under contract to Crowdtorch.\u003c/p>\n\u003cp>Crowdtorch, now a part of San Francisco company Vendini, filed its suit in 2016 alleging the same type of contract breach, saying Perkins collected the bonus it paid to him before signing with a third ticketing company. “Defendants’ conduct was malicious and intentional, and consistent with a pattern and practice,” Crowdtorch’s attorneys wrote.\u003c/p>\n\u003cp>The 2017 judgement in favor of Crowdtorch, for $323,000, was later sustained in appellate court. It is unclear in the lawsuit which ticketing company Perkins signed with while under contract to Crowdtorch, or if he received yet another large signing bonus when he did.\u003c/p>\n\u003cp>Brick & Mortar’s current online ticketing provider is Ticketmaster subsidiary Ticketweb.\u003c/p>\n\u003ch2>A History of Conflict\u003c/h2>\n\u003cp>Perkins, whose ventures have also included Leo’s Music Club in Oakland and the Crafty Fox alehouse in San Francisco, has a well-documented history of conflict with city officials in various departments. In addition to media coverage in several Bay Area outlets, he published the defunct tabloid \u003cem>SF Sounds\u003c/em>, using unsigned editorials to \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\" rel=\"noopener\" target=\"_blank\">criticize the San Francisco Entertainment Commission\u003c/a> and, in one article, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">appearing to fabricate quotes disparaging Brothers Comatose\u003c/a>, a local bluegrass group. \u003c/p>\n\u003cp>But he’s kept a low profile since Twitter users dubbed him “\u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\" rel=\"noopener\" target=\"_blank\">#ValenciaVigilante\u003c/a>,” mimicking the viral hashtags used last year to describe filmed incidents of street harassment around Lake Merritt by “#JoggerJoe” and “#BBQBecky.” \u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\">hashtag\u003c/a> spread last year after leaked security footage showed an \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">altercation\u003c/a> between Perkins and a homeless man outside his Mission District venue. A former employee, David Palmer, then \u003ca href=\"http://www.sfexaminer.com/ex-employee-comes-forward-id-club-owner-threats-burn-homeless-encampment/\">provided screenshots\u003c/a> of text exchanges that he said showed Perkins taking credit for \u003ca href=\"https://kmel.iheart.com/featured/the-sana-g-morning-show/content/2018-06-19-bay-area-club-owner-exposed-for-threatening-homeless-valenciavigilante/#.WywSt6kJOKw.twitter\" rel=\"noopener\" target=\"_blank\">leaving threatening notes\u003c/a>, specific language of which echoed Perkins’ social media posts, on nearby tents. \u003c/p>\n\u003cp>(At the time, Perkins denied leaving the notes, and said the video showed self-defense.)\u003c/p>\n\u003cp>Following public outcry, O’Connor \u003ca href=\"https://www.eastbayexpress.com/oakland/parish-entertainment-group-dissolves-amid-allegations-against-jason-perkins/Content?oid=17480110\">dissolved\u003c/a> the Parish Entertainment Group, the moniker for his partnership with Perkins, although he and Perkins remained co-owners of Brick & Mortar, he said. It was then reported that Allen Scott of Another Planet Entertainment had \u003ca href=\"https://www.billboard.com/articles/business/8473757/new-parish-oakland-sold-allen-scott-another-planet-entertainment\">bought out\u003c/a> Perkins’ stake in the New Parish. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>In a declaration in the Ticketfly case, Perkins wrote that he now lives with his family in Israel.\u003c/p>\n\n",
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"excerpt": "In two separate lawsuits, Brick & Mortar Music Hall co-owner Jason Perkins was found in breach of contract.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>A Bay Area nightclub owner who increased service fees on tickets in order to pay for a large bonus for himself has been defeated in a pair of costly breach-of-contract lawsuits.\u003c/p>\n\u003cp>For music fans, including thousands who purchased online tickets to the nightclubs involved, the lawsuits illustrate little-known details of the online ticketing industry—including signing bonuses and advances for small club owners, and how they can increase the dreaded “convenience” fee paid by ordinary ticket buyers.\u003c/p>\n\u003cp>The lawsuits go back to 2014, when the \u003ca href=\"https://www.thenewparish.com/\" rel=\"noopener\" target=\"_blank\">New Parish\u003c/a> in Oakland and the \u003ca href=\"https://brickandmortarmusic.com/\" rel=\"noopener\" target=\"_blank\">Brick & Mortar Music Hall\u003c/a> in San Francisco’s Mission District began using a different company to sell advance online tickets for shows. Fans had previously bought tickets through San Francisco-based online ticket provider Ticketfly, but the clubs’ co-owner Jason Perkins dropped the company after a competing ticket provider, Crowdtorch, offered a signing bonus and advance totaling $500,000.\u003c/p>\n\u003cp>With the change in providers and the large signing bonus for himself, Perkins effectively increased the service fees paid by ticket buyers by as much as 50 percent.\u003c/p>\n\u003cp>But that decision is about to cost greatly for Perkins, a controversial figure in the local music community. Perkins for years has made headlines across Bay Area media for sparring with \u003ca href=\"https://www.sfgate.com/bayarea/article/Brick-amp-Mortar-Music-Hall-sounds-off-4744795.php\" rel=\"noopener\" target=\"_blank\">city officials\u003c/a>, \u003ca href=\"https://sanfrancisco.cbslocal.com/2015/08/25/oakland-music-venue-claims-illegal-shut-down-after-alleged-police-raid/\" rel=\"noopener\" target=\"_blank\">police and fire departments\u003c/a> and, in one case, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">a popular local band\u003c/a>. (Last year, in a widely publicized incident, he was shown on \u003ca href=\"http://www.sfexaminer.com/nightclub-owner-accused-threats-attack-homeless-man-surveillance-video-surfaces/\" rel=\"noopener\" target=\"_blank\">leaked security footage\u003c/a> in a physical altercation with a homeless man.)\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Both Ticketfly and Crowdtorch sued Perkins and his business partner Michael O’Connor for breach of contract. In its filing, Crowdtorch alleged a pattern by Perkins of “taking hundreds of thousands of dollars in signing bonuses from an online ticketing provider and then abandoning the provider without paying back any of the bonuses.”\u003c/p>\n\u003cp>Crowdtorch won judgment in 2017 for $323,000. And last month, after the court admonished Perkins for withholding evidence, a ruling favoring Ticketfly opened the door to another six-figure judgment. Should a judge award full damages claimed, Perkins and O’Connor will be on the hook for over $738,000. \u003c/p>\n\u003cfigure id=\"attachment_13853667\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/NewParish-800x598.jpg\" alt=\"The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has reportedly since sold his stake in the popular club.\" width=\"800\" height=\"598\" class=\"size-medium wp-image-13853667\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/NewParish-768x574.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">The New Parish in Oakland is one of the clubs involved in the Ticketfly and Crowdtorch lawsuits. Jason Perkins has since sold his stake in the popular club. \u003ccite>(Pendarvis Harshaw/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Passing Along Large Bonuses to Fans\u003c/h2>\n\u003cp>The lawsuits stem from a 2014 agreement between Perkins and Ticketfly, now owned by Eventbrite, to provide ticketing services for Parish Entertainment Group venues, including the Brick & Mortar and New Parish through 2019. The five-year contract included a perk more commonly associated with professional sports: a $110,000 signing bonus.\u003c/p>\n\u003cp>Ticketing companies are widely reviled for their high “convenience” fees tacked on to the face value of a ticket. But the contract also outlined one of the industry’s secrets: the practice of venue owners receiving a cut of each ticket’s service fees. In the agreement, Ticketfly established a split: for a $10 ticket, for example, the service charge would be $2, of which the venue owners would receive $.25.\u003c/p>\n\u003cp>Perkins signed the five-year Ticketfly agreement on April 7, 2014. But nine days later, on April 16, according to court filings, Perkins told a Crowdtorch representative that he was “entertaining offers,” and began bargaining with the company weeks after contracting with Ticketfly. \u003c/p>\n\u003cp>“Throughout the sales process, Mr. Perkins made reference to other vendors he was considering for ticketing services, and even rejected our first offer as not competitive ‘with the vendors we have whittled down to consider,’” the Crowdtorch employee wrote in a sworn declaration. \u003c/p>\n\u003cp>In September 2014, Perkins signed a four-year agreement with Crowdtorch, court filings show, with highly favorable terms: a $150,000 signing bonus, plus a $350,000 advance on ticket sales.\u003c/p>\n\u003cp>To help pay for Perkins’ large bonus and advance, the contract included an increased service charge on tickets, passed along to fans at checkout. The $2 surcharge on a $10 ticket rose by 50 percent, to $3, costing fans a total of $13 before an additional 3 percent credit card fee. The club’s cut of the surcharge, meanwhile, rose by 500 percent to $1.50. (Service fees varied by face value, but their increase did not: a $50 ticket, for example, came with a Ticketfly service fee of $6, which with Crowdfire rose 50 percent to $9.)\u003c/p>\n\u003cp>Throughout this time, Perkins remained under contract to Ticketfly, who had paid him its own signing bonus. In December 2014, as emails surfaced in litigation show, Crowdtorch agreed to wire $250,000 earlier than previously arranged if Perkins confirmed that his Ticketfly contract was “null and void.” “I agree with all points below,” Perkins responded. “I appreciate the timely release of funds[.]” \u003c/p>\n\u003cp>Ticketfly sued Perkins and O’Connor three months later. \u003c/p>\n\u003ch2>‘False and Evasive’ Responses\u003c/h2>\n\u003cp>Last month, the San Francisco judge granted Ticketfly legal fees and “terminating sanctions,” effectively ending the case in the company’s favor. The dollar amount of damages to be paid by Perkins and O’Connor will be determined at a future date, but Ticketfly claims it’s owed more than $400,000. Combined with the Crowdtorch judgment, that would bring the total in damages to be paid by Perkins and O’Connor to more than $723,000.\u003c/p>\n\u003cp>Reached by email, Perkins did not provide comment on the ruling. The attorney representing Perkins and O’Connor did not respond to multiple requests for comment. \u003c/p>\n\u003cp>During the four-year lawsuit, Ticketfly’s attorney Nitoj Singh accused Perkins of strategically “keep[ing] this case barely alive” by “avoiding default time and time again…in an apparent effort to delay a resolution,” a charge with which the judge agreed.\u003c/p>\n\u003cp>“Defendants’ repeated failures to provide timely discovery responses and to comply with the Court’s orders constitute willful, repeated, and egregious misuse of the discovery process,” wrote San Francisco Superior Court Judge Ethan Schulman in the order filed Feb. 28, 2019. Schulman also criticized Perkins and O’Connor for “false and evasive discovery responses [and] their admitted spoliation or loss of relevant documents.” \u003c/p>\n\u003cp>“We’re pleased that this has finally come to resolution with the court dismissing the case in our favor, awarding Ticketfly terminating and monetary sanctions,” the company said in a statement.\u003c/p>\n\u003cfigure id=\"attachment_13853687\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Ticketfly-800x558.jpg\" alt=\"Ticketfly was granted "terminating sanctions" in a judge's decision in February. \" width=\"800\" height=\"558\" class=\"size-medium wp-image-13853687\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-160x112.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Ticketfly-768x536.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Ticketfly was granted “terminating sanctions” in a judge’s decision in February. \u003ccite>(Gabe Meline/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>‘A Pattern and Practice’\u003c/h2>\n\u003cp>Evidently, Ticketfly’s lawsuit did not deter Perkins from signing with yet another ticketing company while under contract to Crowdtorch.\u003c/p>\n\u003cp>Crowdtorch, now a part of San Francisco company Vendini, filed its suit in 2016 alleging the same type of contract breach, saying Perkins collected the bonus it paid to him before signing with a third ticketing company. “Defendants’ conduct was malicious and intentional, and consistent with a pattern and practice,” Crowdtorch’s attorneys wrote.\u003c/p>\n\u003cp>The 2017 judgement in favor of Crowdtorch, for $323,000, was later sustained in appellate court. It is unclear in the lawsuit which ticketing company Perkins signed with while under contract to Crowdtorch, or if he received yet another large signing bonus when he did.\u003c/p>\n\u003cp>Brick & Mortar’s current online ticketing provider is Ticketmaster subsidiary Ticketweb.\u003c/p>\n\u003ch2>A History of Conflict\u003c/h2>\n\u003cp>Perkins, whose ventures have also included Leo’s Music Club in Oakland and the Crafty Fox alehouse in San Francisco, has a well-documented history of conflict with city officials in various departments. In addition to media coverage in several Bay Area outlets, he published the defunct tabloid \u003cem>SF Sounds\u003c/em>, using unsigned editorials to \u003ca href=\"https://www.kqed.org/arts/10973414/entertainment-commission-nightlife-heroes-or-instrument-of-destruction\" rel=\"noopener\" target=\"_blank\">criticize the San Francisco Entertainment Commission\u003c/a> and, in one article, \u003ca href=\"http://www.sfcritic.com/2017/04/19/mixing-business-with-poison-why-readers-cant-trust-sf-sounds/29467\" rel=\"noopener\" target=\"_blank\">appearing to fabricate quotes disparaging Brothers Comatose\u003c/a>, a local bluegrass group. \u003c/p>\n\u003cp>But he’s kept a low profile since Twitter users dubbed him “\u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\" rel=\"noopener\" target=\"_blank\">#ValenciaVigilante\u003c/a>,” mimicking the viral hashtags used last year to describe filmed incidents of street harassment around Lake Merritt by “#JoggerJoe” and “#BBQBecky.” \u003c/p>\n\u003cp>The \u003ca href=\"https://twitter.com/search?f=tweets&vertical=default&q=%23valenciavigilante&src=typd\">hashtag\u003c/a> spread last year after leaked security footage showed an \u003ca href=\"https://www.eastbayexpress.com/SevenDays/archives/2018/06/14/jason-perkins-of-parish-entertainment-group-dubbed-valenciavigilante-accused-of-accosting-homeless-man\">altercation\u003c/a> between Perkins and a homeless man outside his Mission District venue. A former employee, David Palmer, then \u003ca href=\"http://www.sfexaminer.com/ex-employee-comes-forward-id-club-owner-threats-burn-homeless-encampment/\">provided screenshots\u003c/a> of text exchanges that he said showed Perkins taking credit for \u003ca href=\"https://kmel.iheart.com/featured/the-sana-g-morning-show/content/2018-06-19-bay-area-club-owner-exposed-for-threatening-homeless-valenciavigilante/#.WywSt6kJOKw.twitter\" rel=\"noopener\" target=\"_blank\">leaving threatening notes\u003c/a>, specific language of which echoed Perkins’ social media posts, on nearby tents. \u003c/p>\n\u003cp>(At the time, Perkins denied leaving the notes, and said the video showed self-defense.)\u003c/p>\n\u003cp>Following public outcry, O’Connor \u003ca href=\"https://www.eastbayexpress.com/oakland/parish-entertainment-group-dissolves-amid-allegations-against-jason-perkins/Content?oid=17480110\">dissolved\u003c/a> the Parish Entertainment Group, the moniker for his partnership with Perkins, although he and Perkins remained co-owners of Brick & Mortar, he said. It was then reported that Allen Scott of Another Planet Entertainment had \u003ca href=\"https://www.billboard.com/articles/business/8473757/new-parish-oakland-sold-allen-scott-another-planet-entertainment\">bought out\u003c/a> Perkins’ stake in the New Parish. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In a declaration in the Ticketfly case, Perkins wrote that he now lives with his family in Israel.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "New Karibbean City’s After-Hours Permit Revoked, Prompting Discrimination Accusation",
"headTitle": "New Karibbean City’s After-Hours Permit Revoked, Prompting Discrimination Accusation | KQED",
"content": "\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\u003c/p>\n\n",
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"excerpt": "Club owner Richard Ali said it’s the latest example of the Oakland Police Department’s double standards and onerous restrictions on hip-hop nightlife. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The City of Oakland has revoked a popular nightclub’s after-hours permit at the urging of the Oakland Police Department, citing crime near the club and the wider “downtown area.” \u003c/p>\n\u003cp>Richard Ali, owner of Webster Street hip-hop club New Karibbean City, was notified Thursday of the permit revocation, which he said is tantamount to shuttering his business. “My model is people coming in after 1 o’clock,” he said. “We make most of our money during that time.” \u003c/p>\n\u003cp>Oakland police, in a letter acquired by KQED, called New Karibbean City a “nuisance” and a “drain on resources,” citing four reports of felonies “in and around” the club in the past six months. “So far this year, the Oakland Police Department has recovered 11 illegally possessed firearms in the immediate downtown area,” the police captain’s letter reads. “This trend cannot continue.” \u003c/p>\n\u003cp>Ali said it’s unfair to blame his club for 11 guns recovered in an area teeming with bars and venues. Of the three shootings cited in the letter, the original police reports show one stemmed from an argument in a different bar, and another occurred in a shared parking lot. Overall, Oakland police data show crime has actually dropped in the area including downtown. \u003c/p>\n\u003cfigure id=\"attachment_13853568\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg\" alt=\"New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department.\" width=\"800\" height=\"500\" class=\"size-medium wp-image-13853568\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-800x500.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-160x100.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-768x480.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1020x638.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_-1200x750.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Richard.Ali_.MAIN_.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali said his club has been targeted for selective enforcement by the Oakland Police Department. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Regulars celebrate New Karibbean City, a 752-capacity club that Ali has owned since 2008, as a vestige of old Oakland, and it attracts a predominantly black clientele. (He has also owned nearby Level 13 since 2007.) Ali said his club’s demographic is the real problem for police, calling the revocation the latest example of Oakland police’s double standards and onerous restrictions for hip-hop nightlife. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Ali spoke Friday as he prepared to file an appeal, which costs $763. He pointed out that his after-hours permit has long carried a condition stating, “No Hip-Hop events will be planned for the extended hour days,” to support his argument that New Karibbean City is treated differently because of its audience. “I’ve been reasonable, and this is discrimination,” he said. \u003c/p>\n\u003cp>DC is Chillin, the KMEL host and New Karibbean City DJ, described the nightclub as a cultural fixture popular among Oakland natives, noting that his mom partied there in its earlier incarnation. “It’s the last club,” he said. “A lot of new places are lounge-based, and a lot of East and West Oakland people I know aren’t comfortable with the new places.”\u003c/p>\n\u003cp>DC added, “At NKC you can play a new record and the crowd’s real with you.”\u003c/p>\n\u003cp>He pointed out, for example, that fellow DJ Big Von played Ella Mai’s single “Boo’d Up” at New Karibbean City in late 2017. Inspired by the audience response, he brought it to KMEL, and radio nationally followed suit. Von’s selection that night was noted in \u003cem>Rolling Stone\u003c/em> as a \u003ca href=\"https://www.rollingstone.com/music/music-features/bood-up-how-ella-mai-is-leading-female-rb-singers-back-onto-the-charts-628233/\">turning point\u003c/a> for the now-smash single. \u003c/p>\n\u003cfigure id=\"attachment_13853569\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg\" alt=\"New Karibbean City proprietor Richard Ali is appealing the City of Oakland's decision to revoke his club's after-hours permit.\" width=\"800\" height=\"533\" class=\"size-medium wp-image-13853569\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025-1200x800.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/RichardALID8A4025.jpg 1920w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">New Karibbean City proprietor Richard Ali is appealing the City of Oakland’s decision to revoke his club’s after-hours permit. \u003ccite>(Stephanie Lister/KQED)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Ali was \u003ca href=\"https://www.eastbayexpress.com/oakland/blacklisted-how-the-oakland-police-department-discriminates-against-rappers-and-music-venues/Content?oid=6482231\" rel=\"noopener\" target=\"_blank\">interviewed by this writer for a 2017 feature\u003c/a> about Oakland police and live hip-hop, describing how city cops, particularly in the Special Events Unit, pressured promoters to drop certain rappers from lineups. Some local artists felt they were effectively blacklisted; in one incident, Ali said an officer insisted he drop a rapper because of the artist’s lyrics about police harassment.\u003c/p>\n\u003cp>Previous reporting has shown that hip-hop venue owners in Oakland, including Ali, are required to seek special-event permits entailing thousands of dollars in police fees. Meanwhile, clubs associated with other styles of music are spared the expense under otherwise identical circumstances. The costs have led Ali and other promoters to pass on booking prominent touring artists in Oakland.\u003c/p>\n\u003cp>The latest conflicts are part of a long history. Oakland police and the local hip-hop community have been at odds practically since the inception of hip-hop. The city imposed a year-long moratorium on live rap in 1989, right at the time local artists such as Too $hort and MC Hammer were building national profiles. Geoffrey’s Inner Circle owner Geoffrey Pete blamed police overtime costs for temporarily closing his storied club in 2009, and filed an unsuccessful civil-rights lawsuit against the department.\u003c/p>\n\u003cp>KQED has requested comment from the Oakland Police Department. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>This post has been updated with comments from DC is Chillin. \u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Rock ‘n’ Roll Hall-of-Famer Paul Simon announced today that he will headlining this year’s edition of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>, one of the Bay Area’s most popular music festivals. The other artists performing at the festival, coming to Golden Gate Park Aug. 9–11, will be announced on March 26.\u003c/p>\n\u003cp>The “Graceland” singer’s announcement might come as a surprise to fans who recently saw him on \u003ca href=\"https://www.paulsimon.com/news/paul-simon-announces-homeward-bound-farewell-tour/\" rel=\"noopener\" target=\"_blank\">his 2018 “farewell” tour\u003c/a>. Though Simon is no longer on the road, he still occasionally plays benefit concerts to support environmental causes. (His Outside Lands proceeds will be donated to a local environmental nonprofit to be named at a later date.)\u003c/p>\n\u003cp>\u003cem>Outside Lands tickets are on sale. Details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Rock ‘n’ Roll Hall-of-Famer Paul Simon announced today that he will headlining this year’s edition of \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">Outside Lands\u003c/a>, one of the Bay Area’s most popular music festivals. The other artists performing at the festival, coming to Golden Gate Park Aug. 9–11, will be announced on March 26.\u003c/p>\n\u003cp>The “Graceland” singer’s announcement might come as a surprise to fans who recently saw him on \u003ca href=\"https://www.paulsimon.com/news/paul-simon-announces-homeward-bound-farewell-tour/\" rel=\"noopener\" target=\"_blank\">his 2018 “farewell” tour\u003c/a>. Though Simon is no longer on the road, he still occasionally plays benefit concerts to support environmental causes. (His Outside Lands proceeds will be donated to a local environmental nonprofit to be named at a later date.)\u003c/p>\n\u003cp>\u003cem>Outside Lands tickets are on sale. Details \u003ca href=\"https://www.sfoutsidelands.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>. \u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Matmos Play Toilet Brushes, Riot Shields and All Things Plastic for 25th Anniversary Album",
"headTitle": "Matmos Play Toilet Brushes, Riot Shields and All Things Plastic for 25th Anniversary Album | KQED",
"content": "\u003cp>Perhaps the most potent symbol of human impact in this age of Anthropocene is plastic, a material so omnipresent in modern life that the Bakelite Corporation once boasted that it constituted a “\u003ca href=\"https://www.youtube.com/watch?v=waN-dY10MMY\">fourth taxonomic kingdom\u003c/a>” alongside animal, mineral and vegetable. Since people began producing plastic in the ’50s, we’ve manufactured billions of tons of it—only nine percent of which have been properly recycled by National Geographic’s estimates. That unaccounted plastic has \u003ca href=\"https://www.theguardian.com/environment/2019/mar/18/dead-whale-washed-up-in-philippines-had-40kg-of-plastic-bags-in-its-stomach\" target=\"_blank\" rel=\"noopener\">ruptured the stomachs of whales\u003c/a>, \u003ca href=\"https://newrepublic.com/article/144436/sailing-pacific-oceans-trash-vortex\" target=\"_blank\" rel=\"noopener\">swirled into massive islands of junk\u003c/a> and been found at the \u003ca href=\"https://news.nationalgeographic.com/2018/05/plastic-bag-mariana-trench-pollution-science-spd/\" target=\"_blank\" rel=\"noopener\">deepest depths of the ocean\u003c/a>.\u003c/p>\n\u003cp>No other material shapes itself to fit human desire like plastic, nor is there a more apt metaphor for those desires in conflict with the natural world than a water bottle at the bottom of the ocean.\u003c/p>\n\u003cp>The Baltimore (by way of San Francisco) electronic duo Matmos wield the symbolic power of plastics to kaleidoscopic effect on their new album, \u003cem>Plastic Anniversary\u003c/em> (out last week on Thrill Jockey). That title, which works as an allusion to the Anthropocene, also celebrates 25 years of Drew Daniel and M.C. Schmidt’s creative and romantic partnership.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3130067651/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Since their self-titled debut in 1997, Matmos have proven some of the most reliably fun and adventurous alchemists of dance music: collaborating with \u003ca href=\"https://www.youtube.com/watch?v=3JCFOeoKHEI\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0nMoKYYnoeU\" target=\"_blank\" rel=\"noopener\">Rachel’s\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qFuBczVTCBw\" target=\"_blank\" rel=\"noopener\">reimagining operas\u003c/a> and maintaining widely acclaimed \u003ca href=\"https://www.youtube.com/watch?v=aNzTr75aADM\">solo\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=0TslqxPIdJM\" target=\"_blank\" rel=\"noopener\">projects\u003c/a>. Working in the tradition of \u003cem>musique concrète—\u003c/em>composing music from recorded sound—Matmos have produced riotous disco from \u003ca href=\"https://www.youtube.com/watch?v=YXnJbWmz6I4\" target=\"_blank\" rel=\"noopener\">a steam vent\u003c/a>, stomping techno from \u003ca href=\"https://www.youtube.com/watch?v=jS1Ii77n8iA\" target=\"_blank\" rel=\"noopener\">a washing machine\u003c/a> and slurping grooves from \u003ca href=\"https://www.youtube.com/watch?v=OZQN4KR5j2s\" target=\"_blank\" rel=\"noopener\">an actual liposuction\u003c/a>. On \u003cem>Plastic Anniversary\u003c/em>, Daniel and Schmidt have restricted themselves to plastic instruments and created their most conceptually rich album to date.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“For us, the record is about starting from the given-ness of plastic junk,” says Daniel. “We live in a world in which we’re surrounded by plastic crap all of the time, and we’re sort of encouraged to aestheticize our lives as if that wasn’t true. [You see] sort of an Instagram version of people’s lives … and just out of the frame is a lot of plastic garbage.”\u003c/p>\n\u003cfigure id=\"attachment_13853476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853476 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-800x594.jpg\" alt=\"Drew Daniel (left) and M.C. Schmidt celebrate 25 years as romantic and creative partners with 'The Plastic Anniversary.'\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Daniel (left) and M.C. Schmidt celebrate 25 years as romantic and creative partners with ‘Plastic Anniversary.’ \u003ccite>(Theo Anthony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Matmos’ work has always featured a certain degree of novelty baked into the concept, the pure uncanniness of sound that Daniel and Schmidt capture on \u003cem>Plastic Anniversary \u003c/em>leaves listeners constantly questioning what exactly they’re hearing. Throughout \u003cem>Plastic Anniversary\u003c/em>, the suffix “-like” becomes crucial to describe the slightly-off sounds of recognizable instruments that Daniel and Schmidt have recreated in a completely plasticine way.\u003c/p>\n\u003cp>The moody strum that accents “The Singing Tube” wasn’t generated by a guitar, but from a PVC tube hit with a toilet brush. The horror movie synths that ground “The Crying Pill” derive from the groan of plastic containers.\u003c/p>\n\u003cp>Elsewhere, Daniel and Schmidt use a single source to capture worlds of emotion. “Thermoplastic Riot Shield” features Deerhoof drummer Greg Saunier and band members from Whitefish High School in Montana rubbing and hitting the titular shield to create a dread-inducing martial stomp. It’s a track informed by the protests the couple had attended in opposition to the Trump presidency.\u003c/p>\n\u003cp>“Cops play them when they’re marching,” says Daniel. “There’s sort of a crypto-musical dimension to them, which isn’t surprising. Percussion and war have gone together for a long time.”\u003c/p>\n\u003cp>The spark of inspiration for the album’s concept was Daniel looking through Matmos’ house and coming upon the plastic jockstrap he wore when he first met Schmidt while go-go dancing. “When I went to dig it out… I noticed that the plastic was decomposing,” says Daniel. “When we think of plastic we think of it as this impervious substance, in fact it does just change over time like we all do.”\u003c/p>\n\u003cp>https://youtu.be/zWO2VdDqdXE\u003c/p>\n\u003cp>Matmos’ material innovation also carries an undercurrent of reflection, but one that is never indulgent. Twenty-five years of partnership is a hard-won accomplishment and should be celebrated accordingly. Daniel and Schmidt do so in a progressive way, by creating new work that interfaces with (and sometimes outpaces) their greatest hits. “Silicone Gel Implant” would have been a stand-out on 2001’s plastic surgery-themed \u003ca href=\"https://www.youtube.com/watch?v=AdZhwKKnZZc&list=PLedTG2PbU-lstgZ2gq4b_E5KAnV5Z2udO\" target=\"_blank\" rel=\"noopener\">\u003cem>A Chance to Cut is a Chance to Cure\u003c/em>\u003c/a>, while the victorious title track’s stuttering beats and horns seems like an update to 2003’s \u003ca href=\"https://www.youtube.com/watch?v=OPeYJGNNvZE\" target=\"_blank\" rel=\"noopener\">\u003cem>The Civil War\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But for the inventive warmth of the album’s earlier half, the final tracks are relentlessly bleak. “Collapse of the Fourth Kingdom”—an allusion to that boast by Bakelite—is a thunderstorm of plastic horns and marching drums (the school band again) over sulfurous vents of bass. Daniel and Schmidt expertly handle the track’s competing elements, managing to stuff in delayed synth strikes that recall The Knife, before climaxing into an instrumental squall reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=b0W3b6jzE38\" target=\"_blank\" rel=\"noopener\">Swans\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album ends on a quiet note with “Plastisphere,” a whirring ambient track that evokes the rustling insects in David Lynch’s \u003ca href=\"https://www.youtube.com/watch?v=wDEzzFtrCTs\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>. To some, it will scan as a note of calm, a reprieve from the violence of the previous song. But to others, it will unsettle for this very reason. Plastic whistling, cooing and buzzing—a study of nature absent of actual nature. It’s a track that demonstrates that \u003cem>The Plastic Anniversary\u003c/em> is a history as much as it is an event, a musical display of the material’s possibility and a reckoning of its environmental cost.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Perhaps the most potent symbol of human impact in this age of Anthropocene is plastic, a material so omnipresent in modern life that the Bakelite Corporation once boasted that it constituted a “\u003ca href=\"https://www.youtube.com/watch?v=waN-dY10MMY\">fourth taxonomic kingdom\u003c/a>” alongside animal, mineral and vegetable. Since people began producing plastic in the ’50s, we’ve manufactured billions of tons of it—only nine percent of which have been properly recycled by National Geographic’s estimates. That unaccounted plastic has \u003ca href=\"https://www.theguardian.com/environment/2019/mar/18/dead-whale-washed-up-in-philippines-had-40kg-of-plastic-bags-in-its-stomach\" target=\"_blank\" rel=\"noopener\">ruptured the stomachs of whales\u003c/a>, \u003ca href=\"https://newrepublic.com/article/144436/sailing-pacific-oceans-trash-vortex\" target=\"_blank\" rel=\"noopener\">swirled into massive islands of junk\u003c/a> and been found at the \u003ca href=\"https://news.nationalgeographic.com/2018/05/plastic-bag-mariana-trench-pollution-science-spd/\" target=\"_blank\" rel=\"noopener\">deepest depths of the ocean\u003c/a>.\u003c/p>\n\u003cp>No other material shapes itself to fit human desire like plastic, nor is there a more apt metaphor for those desires in conflict with the natural world than a water bottle at the bottom of the ocean.\u003c/p>\n\u003cp>The Baltimore (by way of San Francisco) electronic duo Matmos wield the symbolic power of plastics to kaleidoscopic effect on their new album, \u003cem>Plastic Anniversary\u003c/em> (out last week on Thrill Jockey). That title, which works as an allusion to the Anthropocene, also celebrates 25 years of Drew Daniel and M.C. Schmidt’s creative and romantic partnership.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" style=\"border: 0; width: 100%; height: 120px;\" src=\"https://bandcamp.com/EmbeddedPlayer/album=3130067651/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/\" width=\"100%\" height=\"500\" scrolling=\"yes\" class=\"iframe-class\" frameborder=\"0\">\u003c/iframe>\u003c/p>\n\u003cp>Since their self-titled debut in 1997, Matmos have proven some of the most reliably fun and adventurous alchemists of dance music: collaborating with \u003ca href=\"https://www.youtube.com/watch?v=3JCFOeoKHEI\" target=\"_blank\" rel=\"noopener\">Björk\u003c/a> and \u003ca href=\"https://www.youtube.com/watch?v=0nMoKYYnoeU\" target=\"_blank\" rel=\"noopener\">Rachel’s\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=qFuBczVTCBw\" target=\"_blank\" rel=\"noopener\">reimagining operas\u003c/a> and maintaining widely acclaimed \u003ca href=\"https://www.youtube.com/watch?v=aNzTr75aADM\">solo\u003c/a> \u003ca href=\"https://www.youtube.com/watch?v=0TslqxPIdJM\" target=\"_blank\" rel=\"noopener\">projects\u003c/a>. Working in the tradition of \u003cem>musique concrète—\u003c/em>composing music from recorded sound—Matmos have produced riotous disco from \u003ca href=\"https://www.youtube.com/watch?v=YXnJbWmz6I4\" target=\"_blank\" rel=\"noopener\">a steam vent\u003c/a>, stomping techno from \u003ca href=\"https://www.youtube.com/watch?v=jS1Ii77n8iA\" target=\"_blank\" rel=\"noopener\">a washing machine\u003c/a> and slurping grooves from \u003ca href=\"https://www.youtube.com/watch?v=OZQN4KR5j2s\" target=\"_blank\" rel=\"noopener\">an actual liposuction\u003c/a>. On \u003cem>Plastic Anniversary\u003c/em>, Daniel and Schmidt have restricted themselves to plastic instruments and created their most conceptually rich album to date.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“For us, the record is about starting from the given-ness of plastic junk,” says Daniel. “We live in a world in which we’re surrounded by plastic crap all of the time, and we’re sort of encouraged to aestheticize our lives as if that wasn’t true. [You see] sort of an Instagram version of people’s lives … and just out of the frame is a lot of plastic garbage.”\u003c/p>\n\u003cfigure id=\"attachment_13853476\" class=\"wp-caption aligncenter\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"wp-image-13853476 size-medium\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-800x594.jpg\" alt=\"Drew Daniel (left) and M.C. Schmidt celebrate 25 years as romantic and creative partners with 'The Plastic Anniversary.'\" width=\"800\" height=\"594\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/03/Matmos-diptych-by-Theo-Anthony-1-768x570.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Drew Daniel (left) and M.C. Schmidt celebrate 25 years as romantic and creative partners with ‘Plastic Anniversary.’ \u003ccite>(Theo Anthony)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While Matmos’ work has always featured a certain degree of novelty baked into the concept, the pure uncanniness of sound that Daniel and Schmidt capture on \u003cem>Plastic Anniversary \u003c/em>leaves listeners constantly questioning what exactly they’re hearing. Throughout \u003cem>Plastic Anniversary\u003c/em>, the suffix “-like” becomes crucial to describe the slightly-off sounds of recognizable instruments that Daniel and Schmidt have recreated in a completely plasticine way.\u003c/p>\n\u003cp>The moody strum that accents “The Singing Tube” wasn’t generated by a guitar, but from a PVC tube hit with a toilet brush. The horror movie synths that ground “The Crying Pill” derive from the groan of plastic containers.\u003c/p>\n\u003cp>Elsewhere, Daniel and Schmidt use a single source to capture worlds of emotion. “Thermoplastic Riot Shield” features Deerhoof drummer Greg Saunier and band members from Whitefish High School in Montana rubbing and hitting the titular shield to create a dread-inducing martial stomp. It’s a track informed by the protests the couple had attended in opposition to the Trump presidency.\u003c/p>\n\u003cp>“Cops play them when they’re marching,” says Daniel. “There’s sort of a crypto-musical dimension to them, which isn’t surprising. Percussion and war have gone together for a long time.”\u003c/p>\n\u003cp>The spark of inspiration for the album’s concept was Daniel looking through Matmos’ house and coming upon the plastic jockstrap he wore when he first met Schmidt while go-go dancing. “When I went to dig it out… I noticed that the plastic was decomposing,” says Daniel. “When we think of plastic we think of it as this impervious substance, in fact it does just change over time like we all do.”\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/zWO2VdDqdXE'\n title='//www.youtube.com/embed/zWO2VdDqdXE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Matmos’ material innovation also carries an undercurrent of reflection, but one that is never indulgent. Twenty-five years of partnership is a hard-won accomplishment and should be celebrated accordingly. Daniel and Schmidt do so in a progressive way, by creating new work that interfaces with (and sometimes outpaces) their greatest hits. “Silicone Gel Implant” would have been a stand-out on 2001’s plastic surgery-themed \u003ca href=\"https://www.youtube.com/watch?v=AdZhwKKnZZc&list=PLedTG2PbU-lstgZ2gq4b_E5KAnV5Z2udO\" target=\"_blank\" rel=\"noopener\">\u003cem>A Chance to Cut is a Chance to Cure\u003c/em>\u003c/a>, while the victorious title track’s stuttering beats and horns seems like an update to 2003’s \u003ca href=\"https://www.youtube.com/watch?v=OPeYJGNNvZE\" target=\"_blank\" rel=\"noopener\">\u003cem>The Civil War\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>But for the inventive warmth of the album’s earlier half, the final tracks are relentlessly bleak. “Collapse of the Fourth Kingdom”—an allusion to that boast by Bakelite—is a thunderstorm of plastic horns and marching drums (the school band again) over sulfurous vents of bass. Daniel and Schmidt expertly handle the track’s competing elements, managing to stuff in delayed synth strikes that recall The Knife, before climaxing into an instrumental squall reminiscent of \u003ca href=\"https://www.youtube.com/watch?v=b0W3b6jzE38\" target=\"_blank\" rel=\"noopener\">Swans\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The album ends on a quiet note with “Plastisphere,” a whirring ambient track that evokes the rustling insects in David Lynch’s \u003ca href=\"https://www.youtube.com/watch?v=wDEzzFtrCTs\" target=\"_blank\" rel=\"noopener\">Blue Velvet\u003c/a>. To some, it will scan as a note of calm, a reprieve from the violence of the previous song. But to others, it will unsettle for this very reason. Plastic whistling, cooing and buzzing—a study of nature absent of actual nature. It’s a track that demonstrates that \u003cem>The Plastic Anniversary\u003c/em> is a history as much as it is an event, a musical display of the material’s possibility and a reckoning of its environmental cost.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"slug": "women-sound-off-festival-spotlights-female-musicians-and-entrepreneurs",
"title": "'Women Sound Off' Festival Spotlights Female Musicians and Entrepreneurs",
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"content": "\u003cp>The \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener\">Women Sound Off\u003c/a> festival, formerly known as Women in Music, is a weekend-long extravaganza coming to Oakland April 5–7. Evangeline Elder, manager of standout Bay Area R&B artist \u003ca href=\"https://www.kqed.org/arts/13720273/women-to-watch-rayana-jay\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, and DJ Red Corvette started the homegrown event two years ago under the name Women in Music, and expanded the festival to include talks, panels and workshops for a variety of artists and entrepreneurs. (Disclosure: I spoke on panels at the fest in 2017 and ’18.)\u003c/p>\n\u003cp>The centerpiece of the event is a \u003ca href=\"https://womensoundoff.com/wso-fest-2019-concert\" target=\"_blank\" rel=\"noopener\">concert\u003c/a> at the New Parish on April 6, with R&B singer \u003ca href=\"https://soundcloud.com/mereba\" target=\"_blank\" rel=\"noopener\">Mereba\u003c/a> as headliner. Mereba’s pensive, storytelling-infused album \u003cem>The Jungle is the Only Way Out\u003c/em> dropped at the end of February, and features electro-R&B star 6lack. Singers \u003ca href=\"https://soundcloud.com/6swsh9\" target=\"_blank\" rel=\"noopener\">Swsh\u003c/a>, who captivates with a retro neo-soul style, and \u003ca href=\"https://soundcloud.com/thatsjeandeaux\" target=\"_blank\" rel=\"noopener\">Jean Deaux\u003c/a>, with her smoky, suspenseful voice, will perform as well, along with rappers \u003ca href=\"https://soundcloud.com/queens-d-light\" target=\"_blank\" rel=\"noopener\">Queens D.Light\u003c/a> and \u003ca href=\"https://soundcloud.com/thereallilkayla\" target=\"_blank\" rel=\"noopener\">Lil Kayla\u003c/a> and a host of other live acts and DJs.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/jpc8qqpdpq4medxiefhxk43cf/playlist/4Mzdku8urS70NFAsPrmuzF\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The rest of the Women Sound Off weekend includes a vendor market with local artists; panels with subject lines like ‘Women of Color in Tech,’ ‘Money Talks’ and ‘Changing Women of Color Narratives’; and a bottomless mimosa and networking brunch.\u003c/p>\n\u003cp>It all goes down in Oakland April 5–7. Details \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"excerpt": "The New Parish concert stars R&B singers Mereba, Swsh and Jean Deaux; rappers Lil Kayla and Queens D.Light; and more. ",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener\">Women Sound Off\u003c/a> festival, formerly known as Women in Music, is a weekend-long extravaganza coming to Oakland April 5–7. Evangeline Elder, manager of standout Bay Area R&B artist \u003ca href=\"https://www.kqed.org/arts/13720273/women-to-watch-rayana-jay\" target=\"_blank\" rel=\"noopener\">Rayana Jay\u003c/a>, and DJ Red Corvette started the homegrown event two years ago under the name Women in Music, and expanded the festival to include talks, panels and workshops for a variety of artists and entrepreneurs. (Disclosure: I spoke on panels at the fest in 2017 and ’18.)\u003c/p>\n\u003cp>The centerpiece of the event is a \u003ca href=\"https://womensoundoff.com/wso-fest-2019-concert\" target=\"_blank\" rel=\"noopener\">concert\u003c/a> at the New Parish on April 6, with R&B singer \u003ca href=\"https://soundcloud.com/mereba\" target=\"_blank\" rel=\"noopener\">Mereba\u003c/a> as headliner. Mereba’s pensive, storytelling-infused album \u003cem>The Jungle is the Only Way Out\u003c/em> dropped at the end of February, and features electro-R&B star 6lack. Singers \u003ca href=\"https://soundcloud.com/6swsh9\" target=\"_blank\" rel=\"noopener\">Swsh\u003c/a>, who captivates with a retro neo-soul style, and \u003ca href=\"https://soundcloud.com/thatsjeandeaux\" target=\"_blank\" rel=\"noopener\">Jean Deaux\u003c/a>, with her smoky, suspenseful voice, will perform as well, along with rappers \u003ca href=\"https://soundcloud.com/queens-d-light\" target=\"_blank\" rel=\"noopener\">Queens D.Light\u003c/a> and \u003ca href=\"https://soundcloud.com/thereallilkayla\" target=\"_blank\" rel=\"noopener\">Lil Kayla\u003c/a> and a host of other live acts and DJs.\u003c/p>\n\u003cp>\u003c!-- iframe plugin v.4.3 wordpress.org/plugins/iframe/ -->\u003cbr>\n\u003ciframe loading=\"lazy\" src=\"https://open.spotify.com/embed/user/jpc8qqpdpq4medxiefhxk43cf/playlist/4Mzdku8urS70NFAsPrmuzF\" width=\"800\" height=\"500\" frameborder=\"0\" allowtransparency=\"true\" allow=\"encrypted-media\" scrolling=\"yes\" class=\"iframe-class\">\u003c/iframe>\u003c/p>\n\u003cp>The rest of the Women Sound Off weekend includes a vendor market with local artists; panels with subject lines like ‘Women of Color in Tech,’ ‘Money Talks’ and ‘Changing Women of Color Narratives’; and a bottomless mimosa and networking brunch.\u003c/p>\n\u003cp>It all goes down in Oakland April 5–7. Details \u003ca href=\"https://womensoundoff.com/\" target=\"_blank\" rel=\"noopener\">here\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "Sylvester, 'Super Fly,' and 'La Bamba' Added To National Recording Registry",
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"content": "\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As it has annually for 17 years, the Library of Congress picked out a wide-ranging set of recordings — songs, albums, speeches, monologues, field recordings and some very old phonograph cylinders — to add to the National Recording Registry, bringing the total number of works within it to 525.\u003c/p>\n\u003cp>“The National Recording Registry honors the music that enriches our souls, the voices that tell our stories and the sounds that mirror our lives,” said Librarian of Congress Carla Hayden, who in 2016 \u003ca href=\"https://www.npr.org/2016/09/14/493965815/first-woman-and-african-american-sworn-in-as-librarian-of-congress\">became the first woman and the first African-American\u003c/a> to lead the Library.\u003c/p>\n\u003cp>The most modern of this year’s 25 selections is \u003cem>The Blueprint\u003c/em>, Jay-Z’s 2001 album that solidified the now-mogul’s place in history and boosted the rise of Kanye West, who produced several of its songs. In 2002, Grandmaster Flash and The Furious Five’s epochal single “The Message” became the first hip-hop recording included in the Registry, as part of its inaugural list. Since then, works from hip-hop luminaries Public Enemy, 2Pac, The Sugarhill Gang, N.W.A and Run-D.M.C. have been included in its catalog.\u003c/p>\n\u003cp>Nina Simone’s lament “Mississippi Goddam,” released in 1964 \u003ca href=\"https://www.npr.org/2019/01/08/683021559/nina-simone-to-be-young-gifted-and-black-american-anthem\">in response\u003c/a> to the murder of civil rights activist Medgar Evers by a Klansman and the bombing of a church in Birmingham, Ala. that killed four young girls, was also added to the rolls. (Simone would later say some of her songs from the civil rights era had \u003ca href=\"https://books.google.com/books?id=C7EDAAAAMBAJ&pg=PA54&dq=%22mississippi+goddam%22&hl=en&sa=X&ei=o_kDT6rhKIivgweo5_GfAg&ved=0CDAQ6AEwAA#v=onepage&q=%22mississippi%20goddam%22&f=false\">hurt her career\u003c/a>).\u003c/p>\n\u003cp>\u003ciframe loading=\"lazy\" title=\"Nina Simone - Mississippi Goddam (Live in Netherlands)\" width=\"500\" height=\"375\" src=\"https://www.youtube.com/embed/ghhaREDM3X8?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" allowfullscreen>\u003c/iframe>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Richie Valens’ “La Bamba,” the Chicano rock pioneer’s \u003ca href=\"https://www.npr.org/2000/07/15/1079558/npr-100-la-bamba\">adaptation\u003c/a> of a Mexican folk song, made the young Valens’ legacy just before he died in a plane crash at the age of 17. (A biopic of the same title \u003ca href=\"https://www.loc.gov/item/prn-17-178/\">was named\u003c/a> to the National Film Registry in 2017). The song “continues to be a hallmark in American music and an influence on all Latino music that followed,” says Louie Pérez, whose band Los Lobos famously covered the song in the 1980s, in a statement issued by the Library of Congress.\u003c/p>\n\u003cp>Two heavily grooved, disco-era classics from 1978 also made the list — Earth, Wind & Fire’s song “September” (the date celebrated in the song, for what it’s worth, \u003ca href=\"https://www.npr.org/2014/09/19/349621429/the-song-that-never-ends-why-earth-wind-fires-september-sustains\">has no meaning beyond its satisfying sound\u003c/a>) and Sylvester’s “\u003ca href=\"https://www.npr.org/2018/10/08/651794925/sylvester-you-make-me-feel-mighty-real-american-anthem-disco-celebration\">You Make Me Feel (Mighty Real)\u003c/a>.” Another album intrinsic to that decade’s sound, Curtis Mayfield’s soundtrack album for \u003cem>Super Fly\u003c/em>, was added as well.\u003c/p>\n\u003cp>\u003ca href=\"http://youtu.be/bDWSemTCV40\">http://youtu.be/bDWSemTCV40\u003c/a>\u003c/p>\n\u003cp>Non-musical entries include Robert F. Kennedy’s April 4, 1968 speech, given in response to the assassination of Dr. Martin Luther King, Jr.; the monologues of Ruth Draper, whose theatrical performances brought her, by request, to \u003ca href=\"https://www.britannica.com/biography/Ruth-Draper\">Windsor Castle\u003c/a> to perform; the comedy-history album \u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years \u003c/em>from 1961; and documentation of 23 tribal languages of Native Americans from the Northwest of the country.\u003c/p>\n\u003cp>The Registry has added recordings every year \u003ca href=\"https://www.loc.gov/programs/national-recording-preservation-board/recording-registry/complete-national-recording-registry-listing/\">since 2002\u003c/a> as part of the National Recording Preservation Act, which \u003ca href=\"https://www.congress.gov/bill/106th-congress/house-bill/4846\">passed\u003c/a> in 2000 and called for the establishment of the National Recording Registry and the use of the National Audio-Visual Conservation Center in Culpeper, Va., to “ensure proper storage of preserved sound recordings” — a resource that should be appreciated by all those who have \u003ca href=\"https://www.npr.org/2019/03/18/704458168/myspace-says-it-lost-years-of-user-uploaded-music\">reportedly lost\u003c/a> the music they uploaded to MySpace.\u003c/p>\n\u003chr>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>Full list of recordings added:\u003c/em>\u003c/p>\n\u003cul>\n\u003cli style=\"list-style-type: none\">\n\u003cul>\n\u003cli>Yiddish Cylinders from the Standard Phonograph Company of New York and the Thomas Lambert Company (c. 1901-1905)\u003c/li>\n\u003cli>“Memphis Blues,” Victor Military Band (1914)\u003c/li>\n\u003cli>Melville Jacobs Collection of Native Americans of the American Northwest (1929-1939)\u003c/li>\n\u003cli>“Minnie the Moocher,” Cab Calloway (1931)\u003c/li>\n\u003cli>Bach Six Cello Suites, Pablo Casals (c. 1939)\u003c/li>\n\u003cli>“They Look Like Men of War,” Deep River Boys (1941)\u003c/li>\n\u003cli>\u003cem>Gunsmoke\u003c/em> episode: “The Cabin” (Dec. 27, 1952)\u003c/li>\n\u003cli>Various monologues, Ruth Draper (1954-1956)\u003c/li>\n\u003cli>“La Bamba,” Ritchie Valens (1958)\u003c/li>\n\u003cli>“Long Black Veil,” Lefty Frizzell (1959)\u003c/li>\n\u003cli>\u003cem>Stan Freberg Presents the United States of America, Vol. 1: The Early Years\u003c/em>, Stan Freberg (1961)\u003c/li>\n\u003cli>\u003cem>GO\u003c/em>, Dexter Gordon (1962)\u003c/li>\n\u003cli>\u003cem>War Requiem\u003c/em>, Benjamin Britten (1963)\u003c/li>\n\u003cli>“Mississippi Goddam,” Nina Simone (1964)\u003c/li>\n\u003cli>“Soul Man,” Sam & Dave (1967)\u003c/li>\n\u003cli>\u003cem>Hair\u003c/em> (original Broadway cast album) (1968)\u003c/li>\n\u003cli>Speech on the death of Dr. Martin Luther King, Jr., Robert F. Kennedy (April 4, 1968)\u003c/li>\n\u003cli>“Sweet Caroline,” Neil Diamond (1969)\u003c/li>\n\u003cli>\u003cem>Super Fly\u003c/em>, Curtis Mayfield (1972)\u003c/li>\n\u003cli>\u003cem>Ola Belle Reed\u003c/em>, Ola Belle Reed (1973)\u003c/li>\n\u003cli>“September,” Earth, Wind & Fire (1978)\u003c/li>\n\u003cli>“You Make Me Feel (Mighty Real),” Sylvester (1978)\u003c/li>\n\u003cli>\u003cem>She’s So Unusual\u003c/em>, Cyndi Lauper (1983)\u003c/li>\n\u003cli>\u003cem>Schoolhouse Rock!: The Box Set\u003c/em> (1998)\u003c/li>\n\u003cli>\u003cem>The Blueprint\u003c/em>, Jay-Z (2001)\u003c/li>\n\u003c/ul>\n\u003c/li>\n\u003c/ul>\n\u003chr>\n\u003cdiv class=\"fullattribution\">Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=Jay-Z%2C+%27Super+Fly%2C%27+%27La+Bamba%27+Added+To+National+Recording+Registry&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"info": "Every weekday, \u003cem>All Things Considered\u003c/em> hosts Robert Siegel, Audie Cornish, Ari Shapiro, and Kelly McEvers present the program's trademark mix of news, interviews, commentaries, reviews, and offbeat features. Michel Martin hosts on the weekends.",
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"title": "American Suburb: The Podcast",
"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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},
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"id": "baycurious",
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"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
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},
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},
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},
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"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
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"order": 8
},
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},
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"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
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"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
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"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"order": 1
},
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"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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}
},
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"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"source": "kqed",
"order": 9
},
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},
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"id": "fresh-air",
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"hidden-brain": {
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"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
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"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
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"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
"id": "hyphenacion",
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"tagline": "Where conversation and cultura meet",
"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
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"order": 18
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},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
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},
"link": "/radio/program/latino-usa",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
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},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
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},
"masters-of-scale": {
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"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
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"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
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"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
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"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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